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Littérature scientifique sur le sujet « Erotica in art – Catalogs »

Auteur : Grafiati
Publié le 4 juin 2021
Mis à jour le 14 février 2022

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Articles de revues sur le sujet "Erotica in art – Catalogs"

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Beene, Stephanie, Laura Soito et Laura Kohl. « Art Catalogs Unbound ». Art Documentation : Journal of the Art Libraries Society of North America 39, no 1 (mars 2020) : 24–43. http://dx.doi.org/10.1086/709449.

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Augsburg, Tanya. « The Concupiscent Performer : Joanna Frueh's “Art of Seduction” ». TDR/The Drama Review 55, no 2 (juin 2011) : 86–103. http://dx.doi.org/10.1162/dram_a_00072.

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Joanna Frueh has developed her own contemporary ars erotica, in which seduction is both a persistent motif and performance strategy. Frueh has embodied numerous seductive personas, mirroring her own iterative process of self-transformation. The investigation of Frueh's “art of seduction” uncovers its relevance for her live performances since 1979.
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Kempe, Deborah. « Sold ! The unique research role of auction sale catalogs ». Art Libraries Journal 29, no 2 (2004) : 4–9. http://dx.doi.org/10.1017/s0307472200013535.

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The Frick Art Reference Library has one of the world’s richest historic collections of catalogs of art sold at auction. Awareness and use of this collection has increased as independent scholars and the staff of museums rigorously investigate issues of provenance. Another factor in the increasing recognition of auction sale catalogs is their value as economic documents that may shed light on broader trends, topics that sometimes resonate beyond the field of art historical scholarship.
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Halkevych, Tetiana. « Printed catalogs of art exhibitions as biographical sources ». Entsykpopedychnyi Visnyk Ukrainy [The Encyclopedia Herald of Ukraine] 1 (1 décembre 2009) : 56–62. http://dx.doi.org/10.37068/evu.1.9.

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Guidarelli, Ngoc-My, et Karen Cary. « Untapped Resource : Art Students Cataloging Art Exhibition Catalogs at Virginia Commonwealth University ». Cataloging & ; Classification Quarterly 26, no 4 (6 mai 1999) : 63–75. http://dx.doi.org/10.1300/j104v26n04_05.

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Allen, Nancy S. « History of Western sources on Japanese art ». Art Libraries Journal 11, no 4 (1986) : 8–13. http://dx.doi.org/10.1017/s0307472200004867.

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Learning about Japanese art has been difficult for Westerners. Limited access, language barriers, and cultural misunderstanding have been almost insurmountable obstacles. Knowledge of Japanese art in the West began over 150 years before the arrival of Commodore Perry in 1853. Englebert Kaempfer (1657-1716), sent to Japan as a physician for the Dutch East India Company, befriended a young assistant who provided information for a book on Japanese life and history published in 1727. By 1850, more ethnographic information had been published in Europe. Catalogs of sales of Japanese art in Europe exist prior to 1850 and collection catalogs from major museums follow in the second half of that century. After the Meiji Restoration (1867) cultural exchange was possible and organizations for that purpose were formed. Diaries of 19th century travellers and important international fairs further expanded cross-cultural information. Okakura Kakuzo, a native of Japan, published in English about Japanese art and ultimately became Curator of the important collections of the Boston Museum of Fine Arts. The advent of photography made visual images easily accessible to Westerners. Great collectors built up the holdings of major American museums. In the 20th century, materials written and published in Japan in English language have furthered understanding of Japanese culture. During the past twenty years, travelling exhibitions and scholarly catalogs have circulated in the West. Presently monographs, dissertations and translated scholarly texts are available. Unfortunately, there is little understanding in the West of the organization of Japanese art libraries and archives which contain primary source material of interest to art historians.
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Sevastyanov, Aleksandr Nikitich. « Modern art market : art, economics, marketing ». Uchenyy Sovet (Academic Council), no 1 (1 janvier 2021) : 19–27. http://dx.doi.org/10.33920/nik-02-2101-02.

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The article is devoted to the analysis of the market mechanism in the field of art, as well as the influence of the market on the development of mass taste and aesthetic mainstream. The author demonstrates that the market price for works of art is an indicator in which all the numerous factors of the art market, both aesthetic and economic, including the current situation, are collected and embodied in a concentrated form. That is, the price accumulates all the social connections of art. By spreading, auction catalogs like nothing else make the art market global, serving as a single information base for all its participants. The wide publicity of the auction results forms the fashion in art, raises the prestige of a particular direction, and makes it the main one. The material of the article is of interest in the disciplines "History of Art" and "Modern Art Market".
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Sreberny-Mohammadi, Leili. « The Emergence of an Auction Category : Iranian Art at Christie’s Dubai, 2006–2016 ». Arts 10, no 2 (27 mai 2021) : 35. http://dx.doi.org/10.3390/arts10020035.

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The expansion of the British auction houses Christie’s, Sotheby’s and Bonhams to markets in the Middle East has played a crucial role in building an international market for art from the region. They have also been essential in providing an international platform for the sale of art from Iran, a country whose economy is otherwise isolated from global markets. In this paper, I address the growth of the market for Iranian art specifically via Christie’s auctions in Dubai. Through close analysis of auction catalogs, ethnographic data drawn from live auctions and interviews with key staff members, I document the emergence of Iranian art into the international arena and the solidification of both Iranian and Middle Eastern art as a distinct category of sales. In particular, I explore the notion of “seeing with the other eye”, a way that auction specialists nudge local collectors into the arena of “international” taste. Through analysis of the particular tropes used to narrate artist biographies in auction catalogs, I demonstrate how artists are painted as interpreters and translators of “local” and “global” aesthetic registers.
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Franklin, Jonathan. « Index to Nineteenth-Century Canadian Exhibition and Auction Catalogs of Art ». Art Documentation : Journal of the Art Libraries Society of North America 20, no 1 (avril 2001) : 36–38. http://dx.doi.org/10.1086/adx.20.1.27949123.

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Manzella, Christina, et Alex Watkins. « Performance Anxiety : Performance Art in Twenty-First Century Catalogs and Archives ». Art Documentation : Journal of the Art Libraries Society of North America 30, no 1 (avril 2011) : 28–32. http://dx.doi.org/10.1086/adx.30.1.27949564.

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Thèses sur le sujet "Erotica in art – Catalogs"

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Leal, Tacel Coutinho. « Daring art ». Florianópolis, SC, 2006. http://repositorio.ufsc.br/xmlui/handle/123456789/89077.

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Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-graduação em Letras/Inglês e Literatura Correspondente
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As representações eróticas são o foco principal deste estudo. Mais especificamente, esta pesquisa tem por interesse a análise de representações eróticas que desafiem imagens patriarcais que advoguem a dominação e a hierarquia como atributos naturais das relações amorosas. Para tanto, este trabalho propõe uma investigação das obras "Calamus," de Walt Whitman, e "Twenty-One Love Poems," de Adrienne Rich, como uma maneira de interrogar as limitações do erotismo dito "mainstream." O corpus desta pesquisa é formado por obras de poetas e filósofos renomados como Platão, Octavio Paz e Georges Bataille - teóricos que discutiram extensivamente a questão do erótico - e por estudiosos de destaque nas áreas de feminismo, "gay and lesbian studies" e "queer studies", tais como Teresa de Lauretis, Ellen Greene, Catherine Belsey, Liz Yorke, Audre Lorde, Robert K. Martin, Jay Grossman e Greg Woods, entre outros. Este estudo demonstra que Whitman e Rich não apenas questionaram todo um sistema de representações eróticas patriarcais e excludentes, mas também propuseram uma estratégia política que é fruto de um erotismo desafiador e democrático.
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Lavigne, Julie. « L'art féministe et la traversée de la pornographie : érotisme et intersubjectivité chez Carolee Schneemann, Pipilotti Rist, Annie Sprinkle et Marlene Dumas ». Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85181.

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The increasing importance of pornography since its commercialization at the end of the seventies modified the artistic landscape of sexual representation. What has occurred is a transformation of the horizon of expectations of pornographic images, the definition of eroticism and the relationship between the two notions. In this perspective, the thesis concentrates on the analysis of the appropriation of certain distinct traits of hard core pornography in feminist art. Specifically, it is a qualitative analysis of the interrelations between eroticism and pornography in feminist art during the 1980s. The thesis proceeds to an in-depth analysis of several works by Pipilotti Rist, Annie Sprinkle, and Marlene Dumas as well as adding three earlier works of sexually explicit representation by Carolee Schneemann. The analysis of these works aims to redefine notions of pornography and eroticism, drawing on the work of Linda Williams for the first definition and Georges Bataille for the second. The theoretical context of the thesis, which also turns out to be the historical context of the works, is made up of disciplinary approaches that have most contributed to the debate around eroticism and pornography: art history, philosophy, feminist studies, queer theory, semiology and psychoanalysis.
The thesis makes several conclusions. First, the dynamic between eroticism and pornography does not have to be considered oppositional; the two methods of expression are frequently both represented in the same work. Also, women are no longer uniquely victims of pornography (they are increasingly in the role of pornographic auteure) and the analysis of these works confirms that feminists have appropriated the genre to explore a diversity of female eroticisms and propose a form of feminist, intersubjective pornography. Finally, the use by female artists of syntaxes and features typical of pornography helps to bring about a demand for a more complete and complex female subjectivity which is no longer only political, but also sexual.
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Ambrosio, Jeanie. « Mirror Images : Penelope Umbrico’s Mirrors (from Home Décor Catalogs and Websites) ». Scholar Commons, 2018. https://scholarcommons.usf.edu/etd/7466.

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As the artwork’s title suggests, Penelope Umbrico’s "Mirrors (from Home Décor Catalogs and Websites)" (2001-2011), are photographs of mirrors that Umbrico has appropriated from print and web based home décor advertisements like those from Pottery Barn or West Elm. The mirrors in these advertisements reflect the photo shoot constructed for the ad, often showing plants or light filled windows empty of people. To print the "Mirrors," Umbrico first applies a layer of white-out to everything in the advertisement except for the mirror and then scans the home décor catalog. In the case of the web-based portion of the series, she removes the advertising space digitally through photo editing software. Once the mirror has been singled out and made digital, Umbrico then adjusts the perspective of the mirror so that it faces the viewer. Finally, she scales the photograph of the mirror cut from the advertisement to the size and shape of the actual mirror for sale. By enlarging the photograph, she must increase the file size and subsequent print significantly, which distorts the final printed image thereby causing pixelation, otherwise known as “compression artifacts.” Lastly, she mounts these pixelated prints to non-glare Plexiglas both to remove any incidental reflective surface effects and to create a physical object. What hangs on the wall, then, looks like a mirror in its shape, size and beveled frame: the photograph becomes a one-to-one representation of the object it portrays. When looking at a real mirror, often the viewer is aware of either a reflection of the self or a shifting reflection caused by his or her own movement. However, the image that the "Mirror" ‘reflects’ is not the changing reflection of a real mirror. Nor is it a clear, fixed image of the surface of a mirror. Instead the "Mirrors" present a highly abstract, pixelated surface to meet our eyes. The "Mirrors" are physical objects that merge two forms of representation into one: the mirror and the photograph, thus highlighting similarities between them as surfaces that can potentially represent or reflect almost anything. However, in their physical form, they show us only their pixelation, their digitally constructed nature. Penelope Umbrico’s "Mirrors" are photographs of mirrors that become simultaneously photograph and mirror: the image reflected on the mirror’s surface becomes a photograph, thus showing an analogy between the two objects. In their self-reflexive nature, I argue that Umbrico’s "Mirrors" point to their status as digital photographs, therefore signaling a technological shift from analog to digital photography. Umbrico’s "Mirrors," in altering both mirrors and photographs simultaneously refer to the long history of photography in relation to mirrors. The history of photography is seen first through these objects by the reflective surface of the daguerreotype which mirrored the viewer when observing the daguerreotype, and because of the extremely high level of detail in the photographic image, which mirrored the photographic subject. The relation to the history of photography is also seen in the phenomenon of the mirror within a photograph and the idea that the mirror’s reflection shows the realistic way that photographs represent reality. Craig Owens calls this "en abyme," or the miniature reproduction of a text that represents the text as a whole. In the case of the mirror, this is because the mirror within the photograph shows how both mediums display highly naturalistic depictions of reality. I contend that as an object that is representative of the photographic medium itself, the shift from analog to digital photography is in part seen through the use of the mirror that ultimately creates an absent referent as understood through a comparison of Diego Velázquez’s "Las Meninas" (1656). As Foucault suggests that "Las Meninas" signals a shift in representation from the Classical age to the Modern period, I suggest that the "Mirrors" signal the shift in representation from analog to digital. This latter shift spurred debate among photo history scholars related to the ontology of the photographic medium as scholars were anxious that the ease of editing digital images compromised the photograph’s seeming relationship to truth or reality and that it would be impossible to know whether an image had been altered. They were also concerned with the idea that computers could generate images from nothing but code, removing the direct relationship of the photograph to its subject and thereby declaring the “death” of the medium. The "Mirrors" embody the technological phenomenon with visual addition of “compression artifacts,” otherwise known as pixelation, where this representation of digital space appears not directly from our own creation but as a by-product of digital JPEG programming. In this way they are no longer connected to the subject but only to the digital space they represent. As self-reflexive objects, the "Mirrors" show that there has been a technological transformation from the physically made analog photograph to the inherently mutable digital file.
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Viljoen, Estella. « From Manet to GQ a critical investigation of "gentleman's pornography" / ». Pretoria : [s.n.], 2003. http://upetd.up.ac.za/thesis/available/etd-03122004-082238.

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Camargo, Lucio Martins de 1968. « O nu e o olhar : uma iconologia do nu feminino na fotografia brasileira ». [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284320.

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Orientador: Stephane Remy Georges Malysse
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O objeto da pesquisa é constituído de vinte e quatro fotografias selecionadas dentro da produção fotográfica de nus femininos no Brasil, a partir do estabelecimento de alguns critérios, tais como a nacionalidade de fotógrafos e modelos, o suporte de publicação e o grau de nudez, entre outros, com o objetivo de criar uma gramática dos signos presentes nessas imagens. Num primeiro momento, foi possível identificar alguns modos recorrentes de apresentação dessas imagens: o "nu editorial" e o "nu artístico", que são os principais modelos temáticos dos fotógrafos brasileiros e um terceiro modo, muito menos expressivo em termos numéricos, mas que apresenta imagens mais densas em termos de conteúdo e questionamento de padrões pré-estabelecidos que é o modo do ?nu como expressão?. As fotografias foram separadas em grupos menores, para atender a projetos analíticos diferenciados, conforme cada capítulo, e foi feita a opção metodológica de análise imanente das mesmas. Ao final é proposta uma forma de classificação da produção de fotografias de nus conforme o conteúdo e sua abordagem, como alternativa para a percepção aparentemente exclusiva de conteúdo erótico e abordagem comercial
Abstract: The object of the research is constituted of twenty-four photographs selected among the photographic output of female nudes in Brazil, from the establishment of some criteria, such as the nationality of photographers and models, the support of publication and the rank of bareness, between others, with the objective of creating a grammar of the present signs in those images. In a first moment, was possible to identify some recurring ways of presentation of those images: the "editorial nude" and the "artistic nude", that are the main thematic models of the Brazilian photographers and a third way, a lot less expressive in quantity, but which presents denser images considering content and questioning of pre-established standards which is "nude as expression". The photographs were separated in smaller groups, to attend an analytic differentiated project, according to each chapter, and the methodological option made was of immanent analysis. To sum up, the purpose was to classify photographs of nudes output according to the content and approach, as an alternative to the apparently exclusive perception of erotic content and commercial approach
Mestrado
Mestre em Multimeios
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Pirson, Chloé. « Les cires anatomiques (1699-1998) entre art et médecine : étude contextuelle de la collection céroplastique du musée de la médecine d'Erasme ». Doctoral thesis, Universite Libre de Bruxelles, 2006. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210884.

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Based upon a servey of the Université libre de Bruxelles medecine museum anatomical waxes collection, my Phd aims to study in an historical context the anatomical waxes fron the 18th Century to the 20th Century. We demonstrated who the didactical items created by sculpture ways appeared throw their successif uses from medical teaching to the prevention of the diseases of the time in the anatomical fairground attractions.

Sur base d'une étude de la collection des cires anatomiques du musée de la médecine d'Erasme, ma thèse de doctorat vise à l'étude contextuelle de la production de cires anatomiques depuis la fin du 18e siècle jusqu'au 20e siècle. Nous avons montré comment ses objets didactiques, produits par des moyens sculpturaux, ont été perçu à travers leurs usages successifs depuis l'enseignement médicale jusqu'à la prévention sociale des maladies d'époque, au sein des musées anatomiques forains.


Doctorat en philosophie et lettres, Orientation histoire de l'art et archéologie
info:eu-repo/semantics/nonPublished

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Lemaitre, Serge. « Kekeewin ou kekeenowin : les peintures rupestres de l'est du Bouclier canadien ». Doctoral thesis, Universite Libre de Bruxelles, 2004. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211124.

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Les peintures rupestres de l’Ontario font partie du grand ensemble de l'art rupestre du Bouclier Canadien. Ce terme recouvre une réalité géologique autant qu'ethnographique, puisque cette région est essentiellement habitée par les Algonquiens. La retraite des glaces laissa un paysage criblé de lacs et de cours d'eau dont les artistes amérindiens peignirent les roches riveraines. Les peintres élirent de préférence des rochers de granit ou de gneiss, lissés par les glaces et plongeant, le long des rivages, presque à la verticale dans l'eau.

Depuis une dizaine d'années, les recherches en art rupestre se développent de plus en plus :de nouvelles techniques, ainsi que des interprétations récentes, prenant plus en compte les autres domaines scientifiques font leur apparition. Toutes ces approches sont largement diffusées par des colloques, des congrès et des périodiques spécialisés. Néanmoins, elles sont encore peu appliquées dans de nombreuses régions, les représentations ne faisant généralement l'objet que d'un relevé succinct, d'une identification des principaux motifs et d'une chronologie relative incertaine. Dans les années '60, Leroi-Gourhan rejetait, à juste titre pour l'art pariétal européen, le comparatisme ethnologique et il préconisait de "recevoir directement du Paléolithique ce qu'il apportait spontanément". Les spécialistes européens se focalisèrent alors sur les peintures et gravures et les étudièrent de la même manière que n'importe quel artefact archéologique (typologie, chronologie, carte de répartitions, analyse quantitative…). Au contraire, en Amérique et en Australie, où l'approche ethnographique et ethnologique est possible, les chercheurs se concentrèrent principalement sur ce dernier axe de recherche. Les dernières recherches en Europe de l'art pariétal paléolithique ont démontré l'importance d'une approche à la fois plus objective, plus exhaustive et plus contextuelle, approche qui fait encore malheureusement très largement défaut dans les travaux consacrés aux art rupestres, notamment les peintures rupestres du Bouclier canadien. Or, ces manifestations "esthétiques" sont susceptibles de nous livrer des informations non seulement sur le fonctionnement mental et spirituel des hommes qui les ont réalisées, par l'analyse des contenus graphiques mais aussi sur leur fonctionnement social grâce à la reconstitution des diverses chaînes opératoires mises en œuvre pour leur obtention. Il est donc désormais indispensable de lier les deux approches et de traiter ces documents archéologiques, tant d’un point de vue anthropologique qu’archéologique. C’est-à-dire, en analysant les peintures dans leur contexte (importance du rocher et des fissures, position du rocher sur le lac et importance de la voie de communication) et en les reliant à ce que nous connaissons de la mythologie et des pratiques culturelles des sociétés amérindiennes.


Doctorat en philosophie et lettres, Orientation histoire de l'art et archéologie
info:eu-repo/semantics/nonPublished

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Tumusiime, Amanda Evassy. « Art and gender : imag[in]ing the new woman in contemporary Ugandan art ». Thesis, 2012. http://hdl.handle.net/10500/9036.

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This thesis is based on the belief that representations of women in contemporary Ugandan art serve cultural and political purposes. The premise is that the autonomous woman (seen as the new woman in this study), emerging in Uganda in the mid-1980s, agitated for the social, economic and political emancipation of women in Uganda. It has been demonstrated that the patriarchy attempted to subordinate, confine and regulate this new woman. The press, drama, music and film became powerful tools to force her into silence. This study posits that contemporary Ugandan art was part of this cultural discourse. Adopting a feminist art historical stance, it examines and assesses the gendered content of Uganda’s contemporary art masked as aesthetics. On the one hand, the study exposes the view that some men artists in Uganda use their works to construct men’s power and superiority as the necessary ingredients of gender difference. I demonstrate that some artists have engaged themes through which they have constructed women as being materialistic, gold-diggers, erotic and domesticated. I argue that this has been a strategy to tame Uganda’s new woman. On the other hand, the thesis attempts to show that some women artists have used visual discourse to challenge their marginalisation and to reclaim their ‘agency’ while revising some negative stereotypes about the new woman. This study makes an interdisciplinary contribution to Uganda’s art history, cultural studies and gender studies.
Art History, Visual Arts & Musicology
D. Litt. et Phil. (Art History)
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Taylor, Joyce Geneva. « Art exhibition catalogs an exploratory study of their accessibility to patrons in selected academic, museum, and art school libraries / ». 1993. http://books.google.com/books?id=kv7gAAAAMAAJ.

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De, Villiers Cecilia Helene. « Identity politics and the body in selected comtemporary artworks ». Diss., 2008. http://hdl.handle.net/10500/2969.

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This dissertation concerns the socio-cultural politics expressed in the performances of Matthew Barney, Steven Cohen, Marina Abramovic, and the ‘Pop’ artist Madonna. The contention is that these artists mirror and dramatize marginalization and seem to reflect a desire to resolve conflicts experienced between social and psychological identities in contemporary society. The premise of this study is that these performers engage in a ‘dialogue’ with viewers as a form of self-preservation and self-healing. The Performance artists’ measure of socio-cultural tensions suggests the merging of mass media entertainment, theatrical devices and other cultural practices such as fetishism and rituals involving altered states of consciousness, props and allusions to shamanism. An ancient modality of healing, such as shamanism, when appropriated by artists, seems to reflect an urgent phenomenological need of the individual within Western society for overcoming feelings of powerlessness as a type of therapeutic practice. The Performance artists’ Othering is acted out as a survival mechanism addressing and questioning the ‘degradation’ imposed on marginalized individuals who challenge the traditional notion of authentic identity and the ‘classic’ body.
Art History, Visual Arts and Musicology
M.A. (Visual Arts)
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Livres sur le sujet "Erotica in art – Catalogs"

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Milt, Simpson. Folk erotica : Celebrating centuries of erotic Americana. New York, NY : HarperCollins, 1994.

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Simpson, Milt. Folk erotica. New York : HarperCollins, 1994.

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Forbidden art : The world of erotica. Atglen, PA : Schiffer Pub., 1998.

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Naomi. Visions of erotica. Atglen, PA : Schiffer Pub. Ltd., 2000.

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Femmel, Gerhard. Die Erotica und Priapea aus den Sammlungen Goethes. Frankfurt am Main : Insel Verlag, 1992.

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Portrait of a Chinese paradise : Erotica and sexual customs of the late Qing period. London : Quartet Books, 1987.

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Döpp, Hans-Jürgen. Sex in the cities : Paris. New York, USA : Parkstone Press International, 2013.

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Döpp, Hans-Jürgen. Sex in the cities : Berlin. New York : Parkstone Press USA Ltd., 2013.

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Döpp, Hans-Jürgen. Sex in the cities : Amsterdam. New York : Parkstone Press USA Ltd., 2013.

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Grant, Duncan. Private : The erotic art of Duncan Grant, 1885-1978. London : Gay Men's Press, 1989.

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Chapitres de livres sur le sujet "Erotica in art – Catalogs"

1

Patridge, Stephanie. « Exclusivism and Evaluation : Art, Erotica and Pornography ». Dans Pornographic Art and the Aesthetics of Pornography, 43–57. London : Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137367938_3.

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Bennett, David. « Aestheticizing Pornography for the 21st-century Academy : Pedagogy as Ars Erotica or Scientia Sexualis ? » Dans Pornographic Art and the Aesthetics of Pornography, 183–202. London : Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137367938_10.

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Bensmann, Felix, Andrea Papenmeier, Dagmar Kern, Benjamin Zapilko et Stefan Dietze. « Semantic Annotation, Representation and Linking of Survey Data ». Dans Semantic Systems. In the Era of Knowledge Graphs, 53–69. Cham : Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-59833-4_4.

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Abstract Semantic technologies offer significant potential for improving data search applications. Ongoing work thrives to equip data catalogs with new semantic search features to supplement existing keyword search and browsing capabilities. In particular within the social sciences, searching and reusing data is essential to foster efficient research. In this paper, we introduce an approach and experimental results aimed at improving interoperability and findability of social sciences survey items. Our contributions include a conceptual model for semantically representing survey items and questions, detailing meaningful dimensions of items, as well as experimental results geared towards the automated prediction of such item features using state-of-the-art machine learning models. Dimensions of interest include, for instance, references to geolocation and time periods or the scope and style of particular questions. We define classification tasks using neural and traditional machine learning models combined with sentence structure features. Applications of our work include semantic and faceted search for questions as part of our GESIS Search. We also provide the lifted data as a knowledge graph via a SPARQL endpoint for further reuse and sharing.
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« Attributions in Auction Catalogs ». Dans A History of the Western Art Market, 179–81. University of California Press, 2017. http://dx.doi.org/10.1525/9780520340770-053.

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Kitchen, Denis. « Comic Art in Museums : An Overview ». Dans Comic Art in Museums, 14–22. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0003.

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This 2017 essay by cartoonist, publisher, and curator Denis Kitchen touches on many of the business and practical aspects of comic art exhibitions, as well as providing us with a first-person view of the rapid evolution of comics from early strips to today’s diverse range of award-winning graphic novels. He discusses the importance of exhibit catalogs, particularly Masters of American Comics, the increasing valuation of comic art drawings, importance of collectors, Al Capp (Li’l Abner), R. Crumb, Harvey Kurtzman, Will Eisner, underground comix, having the “eye,” and the importance of narrative. Images: Will Eisner (P’Gel), catalog covers Underground Classics and Masters of American Comics
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Gruber, Christiane J. « “To not toil in lonely obsession” : Modern Persian erotica in the Kinsey Institute ». Dans Eros and Sexuality in Islamic Art, 209–35. Routledge, 2017. http://dx.doi.org/10.4324/9781315094397-8.

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Molotiu, Andrei. « Permanent Ink : Comic Book and Comic Strip Art as Aesthetic Object ». Dans Comic Art in Museums, 33–62. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0005.

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Andrei Molotiu, the Senior Lecturer in the Art History Department at Indiana University, Bloomington, explores the formal characteristics of comic art and the fragmentation caused by showing framed pages that were originally created for publication and separated from their indigenous context, wondering if this separation is ultimately an act of creativity or an act of violence. This chapter explains white-out, margin notations, and how the eye is drawn to different things in an image when it’s isolated on the wall. In this 2006 essay, he focuses on the art of Jack Kirby, Ivan Brunetti’s Schizo 4, Metamorpho, Joe Palooka, Archie, Josie, Tom and Jerry, and "Sooper Hippie.” In this 2018 update to his 2006 essay, Andrei Molotiu, the Senior Lecturer in the Art History Department at Indiana University, Bloomington, returns to his analysis of the formal characteristics of original comic art as seen in exhibitions, exhibit catalogs, and high-end artist’s editions that faithfully reproduce full size comics originals, such as the IDW Artist’s edition of David Mazzucchelli’s and Frank Miller’s Daredevil: Born Again (images). Molotiu briefly discusses the proliferation of comic art exhibits and contrasts the experience of reading a full issue of Jack Kirby’s Kamandi on the wall at the Comic Book Apocalypse show at CSU Northridge and in print in an artist’s edition.
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Yaşdağ, Meltem. « Orientalist Museum Exhibitions in UK as a New Media at the Turn of the 21st Century ». Dans Advances in Media, Entertainment, and the Arts, 268–82. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-7180-4.ch017.

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In this chapter, the author examined the orientalist themed museum exhibitions totally held in Britain after 2000 to understand the real intention behind their thematic artifact selection and their effect on people as becoming media tool. These were “Turks: A Journey of a Thousand Years, 600-1600” in 2005, “The Lure of the East: British Orientalist Painting” in 2008, and recent “Inspired by the East: How the Islamic World Influenced Western Art” in 2019, respectively. The author analyzed the criticisms in newspapers and magazines as well as curators' interviews and catalogs for the museum exhibitions organized in United Kingdom. In this way, the author also discussed the effects of the exhibition created with the media.
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Lasc, Anca I. « The image of furniture : department stores and the trade in interior decoration designs ». Dans Interior decorating in nineteenth-century France, 152–90. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526113382.003.0005.

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Chapter 4 examines department store retail in the second half of the nineteenth century to understand how the interior decorating schemes proposed on paper by the various professions discussed above could materialize in the homes of middle-class consumers. In doing so, the chapter argues that department stores were eager to align themselves with the thriving market in artistic interior decoration designs, contributing to the further popularization of this new art form. Through their full-scale model rooms inside the store as much as through their widely distributed and highly illustrated furniture catalogs, the Grands Magasins du Louvre, Au Bon Marché, Le Printemps, Au Petit St.-Thomas, and the Grands Magasins Dufayel brought the image of the most modern furniture and matching interiors to life, right in front of customers’ eyes. By selling the same furniture combinations and decorative schemes in a variety of materials, these stores catered to several social groups at once. Further, by offering personalized interior decorating services to those customers who wished to obtain an exclusive décor, French department stores in the second half of the nineteenth century became themselves early forerunners of the twentieth-century profession of interior designer.
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