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Littérature scientifique sur le sujet « InterDuck (Group of artists) »

Auteur : Grafiati

Publié le 25 juillet 2024

Mis à jour le 31 juillet 2025

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Articles de revues sur le sujet "InterDuck (Group of artists)"

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Cole, Thomas B. "Group of Artists." JAMA 307, no. 7 (2012): 642. http://dx.doi.org/10.1001/jama.2012.99.

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Green, Alison. "Citizen Artists: Group Material." Afterall: A Journal of Art, Context and Enquiry 26 (January 2011): 17–25. http://dx.doi.org/10.1086/659292.

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Sturken, Marita. "Women Artists’ Group Fights Discrimination." Afterimage 25, no. 6 (1998): 5. http://dx.doi.org/10.1525/aft.1998.25.6.5.

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Fowler, Joan. "Women Artists Action Group Seminar." Circa, no. 41 (1988): 26. http://dx.doi.org/10.2307/25557339.

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Cummins, Pauline. "The women artists action group." Women's Studies International Forum 11, no. 4 (1988): 403–4. http://dx.doi.org/10.1016/0277-5395(88)90093-3.

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Rawstrone, Annette. "We've explored…artists." Nursery World 2024, no. 2 (2024): 28–29. http://dx.doi.org/10.12968/nuwa.2024.2.28.

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Butler, Allison. "Earthworks: Visual Artists for the Earth Group." Leonardo 20, no. 2 (1987): 205. http://dx.doi.org/10.2307/1578353.

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Nelson, Glen. "Mormon Artists Group: Adventures in Art Making." Dialogue: A Journal of Mormon Thought 39, no. 3 (2006): 115–24. http://dx.doi.org/10.2307/45227285.

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Feser, Frauke. "The visiting artist researcher experiment." Journal of Science Communication 14, no. 01 (2015): C02. http://dx.doi.org/10.22323/2.14010302.

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The visiting artist researcher experiment discussed here brought together visual artists and climate scientists, amongst them my research group which studies storms. The artists’ stay led to a dialogue between our diverging perspectives and an open exchange of ideas. The exchange in my research group was more interactive than I had expected. Many conversations provided insights into ideas and work flows of the artists and, eventually, a new view on our storm studies.

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Zaynutdinova, Zukhra. "ACTIVITY OF THE GROUP OF ARTISTS "5 + 1" IN CONCEPTUAL ART." CURRENT RESEARCH JOURNAL OF HISTORY 02, no. 12 (2021): 6–12. http://dx.doi.org/10.37547/history-crjh-02-12-02.

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The article examines the role and significance of the "5 + 1" group in the development of contemporary art in Uzbekistan in the context of the creativity of the group's artists. The ideas and aesthetics of paintings, installations, video art in the work of individual artists are revealed in detail.

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Thèses sur le sujet "InterDuck (Group of artists)"

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Apte, Savita. "Unchallenged dichotomies : modernism and the Progressive Group in India." Thesis, SOAS, University of London, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.504469.

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Duran, Adrian R. "Il Fronte Nuovo delle Arti realism and abstraction in Italian painting at the dawn of the Cold War, 1944--1950 /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file 0.87 Mb., p, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3220804.

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Thorpe, Josh. "Here hear my recent compositions in a context of philosophy and western 20th century experimental art /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ59209.pdf.

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Roza, Alexandra M. "Towards a modern Canadian art 1910-1936 : the Group of Seven, A.J.M. Smith and F.R. Scott." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=20178.

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During the 1910s, there was an increasing concerted effort on the part of Canadian artists to create art and literature which would affirm Canada's sense of nationhood and modernity. Although in agreement that Canada desperately required its own culture, the Canadian artistic community was divided on what Canadian culture ought to be. For the majority of Canadian painters, writers, critics and readers, the future of the Canadian arts, especially poetry and painting, lay in Canada's past. These cultural conservatives championed art which mirrored its European and Canadian predecessors. Their do

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Cass, Jeremy Leeds. "FASHIONING AFROCUBA: FERNANDO ORTIZ AND THE ADVENT OF AFROCUBAN STUDIES, 1906-1957." Lexington, Ky. : [University of Kentucky Libraries], 2004. http://lib.uky.edu/ETD/ukyhpst2004d00216/cassdissertation.pdf.

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Thesis (Ph. D.)--University of Kentucky, 2004.<br>Title from document title page (viewed Jan. 7, 2005). Document formatted into pages; contains v, 253 p. Includes abstract and vita. Includes bibliographical references (p. 236-250).

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Borders, Elizabeth Furlong. "Working in an Artist Collective in Portland Oregon: The artistic benefits of cooperation and place in an underground art world." PDXScholar, 2011. https://pdxscholar.library.pdx.edu/open_access_etds/188.

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This ethnography explores the underground art world in Portland, Oregon by showing how a Portland area artist collective, Oregon Painting Society, navigates their art world. Participant observation, in-depth interviews, and a short latent content analysis triangulate data to show the features and values of the underground art world. Using Becker's concept of art worlds, I show how artists working outside of a traditional art career in a commercial gallery system do their work by exploring how Portland's art world is structured and sustained. I find that group work, cooperation, and resource sh

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Stokes, Justine Frances. "We're Changing the Way We Do Business: A Critical Analysis of the Dixie Chicks and the Country Music Industry." Oxford, Ohio : Miami University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1228361434.

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Dessy, Clément. "Les écrivains devant le défi nabi: positions, pratiques d'écriture et influences." Doctoral thesis, Universite Libre de Bruxelles, 2011. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209795.

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En 1888, une communauté de peintres s’associe sous l’appellation « Nabis ». Ce terme, issu de l’hébreu, signifie à la fois les « prophètes » et les « initiés ». Paul Sérusier qui vécut sa rencontre avec Paul Gauguin comme une révélation est à l’origine de la formation du groupe. Une année auparavant, le symbolisme littéraire triomphe en France et suscite l’émulation parmi une nouvelle génération d’écrivains qui se cristallise autour de /La Revue Blanche/ et le /Mercure de France/. Entre les Nabis et les symbolistes s’établit dès lors un intense réseau de collaborations. Tant dans l’élaboration

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Goldman, Noémie. "Un Monde pour les XX: Octave Maus et le groupe des XX :analyse d'un cercle artistique dans une perspective sociale, économique et politique." Doctoral thesis, Universite Libre de Bruxelles, 2012. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209691.

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Notre thèse se concentre sur la question des mécanismes de restructuration du système du monde de l’art à Bruxelles à la fin du XIXe siècle. Nous cherchons à démontrer comment une nouvelle scène artistique construite autour du cercle des XX à Bruxelles, dont l’épanouissement sera pris en charge par l’animateur d’art Octave Maus, produit un art qui est influencé par les enjeux sociaux et politiques portés par un milieu défini de manière sociale, culturelle et générationnelle.<p>Nous avons ainsi voulu replacer le groupe des XX dans son contexte économique, politique et social. La diversification

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McBride, Margaret. "Changing the art culture of Newcastle: the contribution of the Low Show Group of artists." Thesis, 2010. http://hdl.handle.net/1959.13/928250.

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Research Doctorate - Doctor of Philosophy (PhD)<br>Beginning in 1961, the Low Show Group was an active collective of women artists, exhibiting in Newcastle. The group members were Norma Allen, Mary Beeston, Betty Cutcher (Beadle), Elizabeth Martin, Lillian Sutherland and Rae Richards. Madeleine Scott Jones and Lovoni Webb also exhibited in later Low Show Group exhibitions. These artists continued to work independently and Richards is still making and exhibiting art. This study examines the context in which the group was formed and how this impacted on their decision to form a collective. Their

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Livres sur le sujet "InterDuck (Group of artists)"

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artists), InterDuck (Group of. Art of the Duckomenta®. 2nd ed. Nünnerich-Asmus Verlag & Media GmbH, 2015.

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Tony, Bradshaw, Bloomsbury Workshop, and Sherborne House (Sherborne, Dorset, England), eds. The Bloomsbury group artists. Sherborne House, 2002.

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Dingwerth, Shaun Thomas. The Richmond Group artists. Indiana University Press, 2014.

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Gallery, Delhi Art, ed. Continuum: Progressive artists' group. Delhi Art Gallery, 2011.

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Al-ldrus, S. Jamal. Prologue: A group exhibition by Intuitive Art Group. Edited by Artemis Art and Balai Seni Visual Negara. Balai Seni Visual Negara, 2013.

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Zaini, Syahrul Niza Ahmad. Destiny: Young group show. Balai Seni Visual Negara, 2013.

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Golovanova, Olga. Group Art or Death. State Museum of Contemporary art of the Russian Academy of Fine Arts, 2009.

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Gillian, Naylor, ed. Bloomsbury: The artists and designers bythemselves. Macdonald/Orbis, 1989.

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Gallery, Delhi Art, ed. Mumbai modern: Progressive artists' group, 1947-2013. Delhi Art Gallery, 2013.

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International, Ora. Artists 8: Future Legacies : The ORA group of Eight Safed artists. ORA International, 1990.

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Chapitres de livres sur le sujet "InterDuck (Group of artists)"

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Clarke, Paul. "Performing Art History: Non-Linear, Synchronous and Syncopated Times in Performance Re-Enactment Society’s Group Show (Arnolfini, Bristol 2012)." In Artists in the Archive. Routledge, 2018. http://dx.doi.org/10.4324/9781315680972-13.

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Kiliszek, Joanna. "Living Simulacrum." In Cultural Inquiry. ICI Berlin Press, 2022. http://dx.doi.org/10.37050/ci-21_22.

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The Neoplastic Room at the Muzeum Sztuki in Łódź was originally designed in 1948 by the avant-garde artist Władysław Strzemiński. Destroyed in 1950 and reconstructed in 1960, it became the focal point of the museum, with the ‘International Collection of Modern Art’ by the a.r. group being exhibited there. At the same time, it became a point of reference for contemporary artists and a strategy for building a permanent collection for the museum, as well as a reflection on how the past can give a vision of the future. This essay focuses on the gesture of ‘re-curating’ the Neoplastic Room in relat

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Mazzanti, Anna. "Operazione Arcevia. Existential Community. The Reality of the Experience and the Utopia of the Vision." In Springer Series in Design and Innovation. Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-49811-4_54.

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AbstractOperazione Arcevia (OA) is an urban settlement project, born for the purpose of the social, economic, and touristic regeneration of a marginal area in the Marchigiane hills, characterized by its postwar exodus. Conceived between 1972 and 1974 on the initiative of the businessman Italo Bartoletti, like every newly constituted city it was designed with a political and cultural identity by the architect Ico Parisi in collaboration with two renowned critics (Cripolti and Restany), a psychologist, and a large number of artists (Arman, César, Ceroli, Soto, Staccioli, among others). OA remain

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Cangiano, Serena, Davide Fornari, and Azalea Seratoni. "Re-search, Re-enactment, Re-design, Re-programmed Art." In Cultural Inquiry. ICI Berlin Press, 2022. http://dx.doi.org/10.37050/ci-21_15.

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Kinetic and programmed art has been a trend of contemporary arts that flourished in the 1950s and 1960s. Kinetic artworks often incorporated technology, at that time still immature, and involved the audience in the production of visual, sound, and somatic effects. Gruppo T was the pioneering group at the forefront of this groundbreaking vision of art as reproducible, participatory, and interactive. Through an action research project and the methodological tool of reenactment, a group of researchers, designers, and artists has proposed an alternative way to conserve Gruppo T artworks. The proje

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"Ottoline Morrell: Artists Revels." In The Bloomsbury Group, edited by S. P. Rosenbaum. University of Toronto Press, 1995. http://dx.doi.org/10.3138/9781487573768-057.

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"The Black Artists’ Group." In Flyboy 2. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822373995-007.

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"The Black Artists’ Group." In Flyboy 2. Duke University Press, 2016. http://dx.doi.org/10.1215/9780822373995-014.

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"Problems of Deranged Minds, Artists, and Psychiatrists." In The Cybernetics Group. The MIT Press, 1991. http://dx.doi.org/10.7551/mitpress/2260.003.0008.

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"The Collective Impossible: Erfurt’s Women Artists Group." In Parallel Public. The MIT Press, 2022. http://dx.doi.org/10.7551/mitpress/12748.003.0008.

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Philbrick, Ethan. "Ensemble." In Group Works. Fordham University Press, 2023. http://dx.doi.org/10.5422/fordham/9781531502690.003.0004.

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The fifth chapter approaches the mid-1970s ensemble compositions for groups of one kind of instrument by Julius Eastman to think about the group forms of emergent queer politics. Philbrick interprets Eastman’s mono-instrument ensemble pieces as sounding out a different kind of homo-ness—a dissonant sonic gathering around being of the same kind (of body, of instrument) in which categorical sameness is also always a space of dissonance, interference, and differentiation. In addition, Philbrick turns to more recent projects by artists such as Jeremy Toussaint-Baptiste and Tiona Nekkia McClodden t

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Actes de conférences sur le sujet "InterDuck (Group of artists)"

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Reiser, Susan, and Phill Conrad. "A processing primer for artists." In SIGGRAPH '17: Special Interest Group on Computer Graphics and Interactive Techniques Conference. ACM, 2017. http://dx.doi.org/10.1145/3084863.3107579.

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"Session details: SIGGRAPH Core: HDRi for artists." In SIGGRAPH '08: Special Interest Group on Computer Graphics and Interactive Techniques Conference, edited by Kirt Witte, Christian Bloch, Hilmar Koch, Zap Andersson, and Gary M. Davis. ACM, 2008. http://dx.doi.org/10.1145/3260713.

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Mokhov, Serguei A., Miao Song, Sudhir P. Mudur, and Peter Grogono. "Dataflow VFX Programming and Processing for Artists and OpenISS." In SIGGRAPH '20: Special Interest Group on Computer Graphics and Interactive Techniques Conference. ACM, 2020. http://dx.doi.org/10.1145/3388763.3407760.

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Eales, R. T. Jim, and Dharani Perera. "Creativity Support: Insights from the Practices of Digital-Atomic Artists." In Proceedings of HCI 2007 The 21st British HCI Group Annual Conference University of Lancaster, UK. BCS Learning & Development, 2007. http://dx.doi.org/10.14236/ewic/hci2007.3.

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Kashina, M. A. "BEST PRACTICES OF CREATIVE INDUSTRIES: SUCCESS FACTORS OF THE SOUTH KOREAN BOY BAND BTS IN RUSSIA (BASED ON THE MATERIALS OF A SOCIOLOGICAL STUDY)." In CONVERSION PROBLEMS AND REGULATION OF REGIONAL SOCIO-ECONOMIC SYSTEMS. INSTITUTE OF PROBLEMS OF REGIONAL ECONOMICS OF THE RUSSIAN ACADEMY OF SCIENCES, 2023. http://dx.doi.org/10.52897/978-5-7310-6198-8-2023-52-37-51.

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The success of the South Korean entertainment agency HYBE, which was valued at $9.5 billion in 2020, makes studying its marketing and business strategy relevant. An analysis of the data of an online survey of 2.5 thousand Russian BTS fans (the main artists of HYBE) shows that the key factors of popularity are technological and personal ones. First factors are a large amount of video in various social net-works, high-quality video clips, beau-tiful, non-standard (Asian) appearance of artists, the inclusion of BTS creativity in the Korean wave as a whole (links, tags). Second factors are the con

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Dias, Mariana, Pedro Coelho, Rui Figueiredo, Rita Carvalho, Veronica Orvalho, and Alexis Roche. "Creating Infinite Characters From a Single Template: How Automation May Give Super Powers to 3D Artists." In SIGGRAPH '24: Special Interest Group on Computer Graphics and Interactive Techniques Conference. ACM, 2024. http://dx.doi.org/10.1145/3641233.3664339.

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"Session details: Professional Development and Education: Know your rights: a legal primer for software developers, artists and content creators." In SIGGRAPH '08: Special Interest Group on Computer Graphics and Interactive Techniques Conference, edited by Gil Irizarry, Gregory P. Silberman, and Neer Gupta. ACM, 2008. http://dx.doi.org/10.1145/3260717.

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Lord, Francois. "An OpenUSD Production Pipeline with Very Little Coding: Empowering 3D artists with a parallel workflow using off-the-shelf software." In SIGGRAPH '24: Special Interest Group on Computer Graphics and Interactive Techniques Conference. ACM, 2024. http://dx.doi.org/10.1145/3641233.3664307.

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Forrest, Brent James. "The Time Filter System: Advanced Time Manipulation for Animators and Effects Artists: How I Learned to Stop Worrying and Love Matrix Math." In SIGGRAPH '23: Special Interest Group on Computer Graphics and Interactive Techniques Conference. ACM, 2023. http://dx.doi.org/10.1145/3587421.3595412.

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Frémontier-Murphy, Camille. "At the Sources of an Artistic Mutation towards Science: the First Years of the Journal Leonardo (1968-1981) as a Forum for the Pioneers of Digital Art." In 28th International Symposium on Electronic Art. Ecole des arts decoratifs - PSL, 2024. http://dx.doi.org/10.69564/isea2023-8-short-fremontier-murphy-artistic-mutation-towards-science.

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SHORT PAPER. The journal Leonardo was founded in 1968 by Frank Malina, a pioneer of light art in Paris and of aerospace science in the United States. Leonardo encouraged artists to publish their work in the manner of scientists. It was a new initiative developed in the revolutionary context of the 1960s and that allowed artists, scientists, psychologists to exchange on the subjects of art, perceptions, science, society... Many pioneers of digital art took part in the adventure, including Vera Molnar, Zdenek Sykora, Charles Csuri, and the artist-novelist Herbert Franke, who became the advocate

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Rapports d'organisations sur le sujet "InterDuck (Group of artists)"

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Sequeira, Dora María, Ileana Alvarado V., and Félix Angel. Young Costa Rican Artists: Nine Proposals. Inter-American Development Bank, 2007. http://dx.doi.org/10.18235/0006438.

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Nine artists, all living in Costa Rica, were selected out of thirty-four who responded to an open call to present portfolios. The selection criteria is to be forty years of age or younger, have had at least one individual show, and have participated in a minimum of three group exhibitions. The exhibition has been organized by the IDB Cultural Center in collaboration with the Foundation of the Central Bank Museums of Costa Rica. Works include installations and interactive digital art, digital graphics, conventional photography, ceramics, painting, wire drawing and design objects manufactured wi

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Kupfer, Monica E. Perceptive Strokes: Women Artists of Panama. Inter-American Development Bank, 2013. http://dx.doi.org/10.18235/0006215.

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The IDB Cultural Center is proud to host this exhibit honoring the Republic of Panama, host country of the IDB Annual Meeting, which will take place from March 14¿20, 2013. The exhibition highlights the history of modern and contemporary art by Panamanian women and will include paintings, photographs, sculptures, and video art from the 1920s to the present. The 22 artworks, selected by Panamanian curator Dr. Monica E. Kupfer, reveal the ways in which a varied group of female artists have experienced and represented significant geopolitical events in the nation¿s history. Their interpretations

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Pollock, Wilson. Pivot the Future Makers: Building our People and Places. Edited by Musheer O. Kamau, Sasha Baxter, and Golda Kezia Lee Bruce. Inter-American Development Bank, 2021. http://dx.doi.org/10.18235/0003188.

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Pivot is a movement of radical ideas for the Caribbean of the future. In 2020, the IDB and its partners (Caribbean Climate Smart-Accelerator (CCSA), Destination Experience (DE), and Singularity University) launched The Pivot Movement and asked the people of the Caribbean to think of big ideas to transform the region. A small group came together at The Pivot Event to design 9 moonshots for electric vehicles, digital transformation and tourism. Pivot: The Future Makers is a comic book produced by the Pivot partners and illustrated by Caribbean artists. In it, the 9 moonshots have been developed

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Graphics from Latin America and the Caribbean: September 10 - November 15, 2002. Inter-American Development Bank, 2002. http://dx.doi.org/10.18235/0005919.

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20 lithographs, etchings, linocuts, woodcuts, silkscreens and other works in various graphic techniques by artists from the Americas were presented at the Robert V. Fullerton Art Museum, California State University, San Bernardino, California. This is the first group exhibition organized by the museum of works on paper by some of the most recognized artists of the 20th century from Latin America and the Caribbean. It includes graphics by José Clemente Orozco, Diego Rivera, David Alfaro Siqueiros; Roberto Sebastián Matta; Enrique Grau, and others.

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A Century of Painting in Panama. Inter-American Development Bank, 2003. http://dx.doi.org/10.18235/0005898.

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An exhibition of exceptional paintings by 25 outstanding artists selected from a survey of a wide-ranging group of art connoisseurs, historians, critics, professors and art dealers in Panama gave the public an overview of the development of painting in Panama over the 20th century. The selection included early 20th century artists such as Roberto Lewis, Humberto Ivaldi, and Manuel Amador; and painters from Mid-century and end of the 20th century. Dr. Mónica E. Kupfer, Former Curator of the Panama's Museum of Contemporary Art, was invited as Associate Curator for this exhibition.

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