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Littérature scientifique sur le sujet « Photography, Artistic »

Auteur : Grafiati

Publié le 4 juin 2021

Mis à jour le 30 juillet 2024

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Articles de revues sur le sujet "Photography, Artistic"

Dondero, Maria Giulia. "Photography as a Witness of Theatre." Recherches sémiotiques 28, no. 1-2 (October 7, 2010): 43–57. http://dx.doi.org/10.7202/044587ar.

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My paper investigates the meeting of theatre and photography in ‘theatre photography’. Recognizing that both art forms can determine theoretical and philosophical views on representation and self-representation, I aim to compare their visual strategies and the way they construct point of view. In the process several questions are raised: do qualities of photographs belong to objects photographed or to photographs themselves? How important is the object that ‘triggers’ the view? Should the theatre photographer place his camera anywhere? What of framing? In the second section I offer an analysis

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Stamenković, Miloš. "Sports photography and its artistic dimensionality." Fizicko vaspitanje i sport kroz vekove 8, no. 2 (2021): 119–33. http://dx.doi.org/10.5937/spes2102119s.

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Sports photography is a powerful visual tool that can be used to promote sports, athletes and recreational physical activities. Her main role is to present sport as an art. In that respect, good sports photography also implies the recorded moment of the athlete in a specific movement position, which is unusual and which cannot be seen on television. When it comes to the promotion of professional sports, sports photography occupies a significant place in the sports press and sports magazines. On the other hand, sports photography also promotes recreational sports, which is intended for all thos

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Vellanki, Vivek. "Shifting the Frame: Theoretical and Methodological Explorations of Photography in Educational Research." Cultural Studies ↔ Critical Methodologies 22, no. 2 (December 28, 2021): 132–42. http://dx.doi.org/10.1177/15327086211045976.

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In this article, I focus on the relationship between photography and educational research, situating this conversation at the interstices of fact/fiction, indexical/imaginary, and art/data. I ask: How has our understanding and use of photography, the camera, and the photographer been shaped by the field of qualitative research? What possibilities exist for reimagining the role of photography in educational research and practice? Drawing on a diverse body of theoretical, empirical, and artistic works, I respond to the questions by looking at three key elements shaping image-based visual researc

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Colner, Miha, and Ivan Petrović. "Ivan Petrović, Photographer, Archivist and Artist: Interview with Ivan Petrović." Cabinet, Vol. 2, no. 2 (2017): 4–9. http://dx.doi.org/10.47659/m3.004.int.

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Ivan Petrović (1973) has been working in the fields of photography and art for twenty years as a researcher, creator and collector. Since 1997, he has been creating and publishing photographic projects that reflect the spirit of space and time in which they are created, while in his works he uses both documentary approaches as well as research principles. In 2011, together with photographer Mihail Vasiljević, he founded a para-institution, the Centre for Photography (CEF). Despite lacking its own premises, infrastructure or funds for performing its activities, the institution deals with the se

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Viditz-Ward, Vera. "Photography in Sierra Leone, 1850–1918." Africa 57, no. 4 (October 1987): 510–18. http://dx.doi.org/10.2307/1159896.

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Opening ParagraphIn recent years scholars have shown considerable interest in the early use of photography by non-Western peoples. Research on nineteenth-century Indian, Japanese and Chinese photography has revealed a rich synthesis of European and Asian imagery. These early photographs show how non-Western peoples created new forms of artistic expression by adapting European technology and visual idioms for their own purposes. Because of the long history of contact between Sierra Leoneans and Europeans, Freetown seemed a logical starting point for similar photographic research in West Africa.

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Choi, Jeongho, and Dukhwan Kim. "A Study on the Reality and Artistic Value of Realistic Photography." Asia Europe Perspective Association 21, no. 2 (June 30, 2024): 135–49. http://dx.doi.org/10.31203/aepa.2024.21.2.135.

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This study explores the essence and evolution of photographic art, focusing on the debate surrounding the reality and artistic value of realistic photography. It examines the progression of photography from a mere recording tool to an independent art form and analyzes how the advent of the digital age has expanded the modes of expression and artistic value of photography. The study systematically reviews the technological advancements and artistic expressions from the invention of early photography to modern digital photography. The study emphasizes that the reality of photography is not a sim

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Mukhin, Andrei Sergeevich. "Transformation of images in the context of constructing photographic reality." Vestnik of Saint Petersburg State University of Culture, no. 1 (54) (2023): 24–30. http://dx.doi.org/10.30725/2619-0303-2023-1-24-30.

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The article is devoted to the analysis of image morphology in photography. The figurative structure is considered as three-part: an optical image (image), an aesthetic image (impression) and an artistic image (understanding). The author argues the need for an artistic image in order for photography to become art. Excessive desire for spectacular visual forms, which are achieved through the technical tools of the photographer and thanks to computer processing, is criticized. Affecting expressive means of photography are not an unconditional value, they can create an aesthetically attractive pro

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Virkki, Susanna. "Finnish Theatre Photography and the Influence of Technology." Nordic Theatre Studies 26, no. 2 (September 9, 2014): 60. http://dx.doi.org/10.7146/nts.v26i2.24310.

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This article is mainly based on interviews with three Finnish photographers’, Kari Hakli, Jalo Porkkala, and Petri Nuutinen’s as well as on the theatre photographs they have taken. The criterion for selecting these three photographers has been that their work spans a number of decades; therefore, the development of Finnish theatre photography can be studied from this perspective. The theatre photograph is a photo of the stage image, which is often based on the dramaturgy of the play script. The subjects and points of view of the photographer are not generally agreed on in advance with the dire

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Kvietkauskas, Mindaugas. "From Shulhoyf to Montparnasse: Cultural Collage in Moshé Vorobeichic's Photography Book The Ghetto Lane in Wilna (1931)." Colloquia 48 (December 30, 2021): 170–93. http://dx.doi.org/10.51554/coll.21.48.11.

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This article discusses the artistic genesis of the first avantgarde photography book in Lithuanian art history, The Ghetto Lane in Wilna (1931) by Moshé Vorobeichic-Moï Ver (Moshe Raviv, 1904–1995), and aims to conduct the first in-depth reconstruction of Vorobeichic’s early biographical and creative period in Vilnius in the 1920s in the local Jewish and multicultural milieu. The research is based on archival materials from Lithuanian state archives and the Raviv family archives in Israel. Vorobeichic, who was born in 1904 in Zaskavichy (currently in Belarus), made his artistic debut in Vilniu

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Aziz, Abdul, John Felix, and Candy Reggi Sonia. "EKSPLORASI VISUAL SITU CANGKUANG DALAM FOTOGRAFI SENI." Capture : Jurnal Seni Media Rekam 9, no. 1 (March 8, 2018): 1–11. http://dx.doi.org/10.33153/capture.v9i1.2052.

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The facilities and services provided by photographic technology have made it easier for people to photograph. So photography is no longer a strange thing in the society. Photography has been able to replace manual illustrations, with its many advantages, such as the similarities and details of the objects it records. Photography is also necessary as a means of communication and photographic messages can also be a means of expression. When photography enters the arts, photography can provide dimensions that touch technical aesthetic aspects, as well as conceptual and thematic discourses. Explor

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Thèses sur le sujet "Photography, Artistic"

Curtin, Tansy. "Contemporary German photography and American realism : is colour the only link? /." Title page, table of contents and abstract only, 2004. http://web4.library.adelaide.edu.au/theses/09ARAHM/09arahmc9782.pdf.

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Oscar, Sara. "Into this wild abyss learning through fabricated photographs /." Connect to full text, 2007. http://hdl.handle.net/2123/3965.

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Thesis (Ph. D.)--University of Sydney, 2007.<br>"Photomedia"--T.p. Title from title screen (viewed February 18, 2007) Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy (Visual Arts) to the Sydney College of the Arts. Includes bibliography. Also available in print form.

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Mthethwa, Zwelethu. ""Personal" constructs /." Online version of thesis, 1988. http://hdl.handle.net/1850/11638.

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Lai, Kin-keung Edwin. "Hong Kong art photography : from its beginnings to the Japanese invasion of December 1941 /." Hong Kong : University of Hong Kong, 1996. http://sunzi.lib.hku.hk/hkuto/record.jsp?B17593864.

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Ai, Linda Ho-Yun. "Identity / the deployment of apple light in considering identity in contemporary portrait photography : this thesis is submitted to the Auckland University of Technology in partial fulfilment of the degree of Master of Arts (Art and Design), 2004." Full thesis. Abstract, 2004.

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Turner, Allen Julie. "Touching a sensibility a photographic exploration of haptic experience." Click here to access this resource online, 2007. http://repositoryaut.lconz.ac.nz/theses/1407/.

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Lai, Kin-keung Edwin, and 黎健強. "Hong Kong art photography : from its beginnings to the Japanese invasion of December 1941." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hdl.handle.net/10722/210323.

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Hudson, Giles. "The feminization of photography and the conquest of colour : Sarah Angelina Acland, photographer." Thesis, University of Oxford, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.711651.

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Gregory, Ronald Joseph. "Test target display : an M.F.A. photography portfolio as applied to optical laser disc /." Online version of thesis, 1987. http://hdl.handle.net/1850/10314.

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Scheffknecht, Sandra Art College of Fine Arts UNSW. "Doubledeath--the very presence of the absent." Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/43304.

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The notion of doubledeath, as an idea to generate work, can be seen as both an ironic reflection on the medium of photography and a critical attempt to comment on contemporary culture. In short, the inherent characteristics of the photographic medium and its function within society are combined. Photography embodies both death and the beginning of something autonomous and new in the very moment of the picture-taking process. A photograph is a mere simulation of what was once there, in front of the lens, transformed onto photographic paper. It then opens up a whole range of new possibilities t

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Livres sur le sujet "Photography, Artistic"

Shaw, Bernard. Bernard Shaw on photography: Essays and photographs. Wellingborough: Equation, 1989.

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Windig, Ad. Photography =: Fotografie. 's-Gravanhage: SDU, 1989.

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Príncipe, André. Tunnels: Photography. London, England: Booth-Clibborn Editions, 2005.

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Warhol, Andy. Photography. Hamburg: Hamburger Kunsthalle, 1999.

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Sieff, Jeanloup. Jeanloup Sieff: Erotishe photographie = erotic photography = photographie érotique. Berlin: Benedikt Taschen, 1991.

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Smith, Bill. Designing a photograph: Visual techniques for making your photographs work. USA: Amphoto, 1985.

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San Francisco Museum of Modern Art. Photography: A facet of modernism : photographs from the San Francisco Museum of Modern Art. New York: Hudson Hills inassociation with the SanFrancisco Museum of Modern Art, 1986.

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Yaffa, Claire. Light & shadow: The photographs of Claire Yaffa. New York: Aperture, 1998.

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Uelsmann, Jerry. Jerry Uelsmann: Other realities. New York: Bulfinch Press, 2005.

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Erwitt, Elliott. Personal best. Kempen, Germany: Te Neues, 2014.

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Chapitres de livres sur le sujet "Photography, Artistic"

Campagnaro, Marnie. "Chapter 6. “A successful photograph is worth as much as a story”." In Children’s Literature, Culture, and Cognition, 144–67. Amsterdam: John Benjamins Publishing Company, 2023. http://dx.doi.org/10.1075/clcc.17.06cam.

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Bruno Munari was an Italian artist, graphic designer, and illustrator who combined art and design to great effect in his visual art and books. During his long, interdisciplinary career, Munari experimented with many artistic possibilities: painting, illustration, sculpture, design, graphics, teaching, poetry, and writing. He also cultivated a peculiar relationship with photography. This chapter investigates photography’s influence on Munari’s poetics, from Futurism and other Avant-garde movements to the Bauhaus and László Moholy-Nagy’s work, graphic design experimentation, and collaborations with photographers. His multifaceted approach can be investigated through two editorial project typologies: photocollage and photographic picturebooks. What is discussed is how historic, artistic, and cultural photography influenced his children’s works and to what extent photographic experimentation affected Munari’s creativity and aesthetics in his original books.

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Bertinetto, Alessandro. "Improvisation and Artistic Photography." In The Routledge Handbook of Philosophy and Improvisation in the Arts, 600–616. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003179443-47.

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Burgin, Victor, and Hilde Van Gelder. "Artistic representation and politics." In The Routledge Companion to Photography Theory, 371–84. New York : Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9781315727998-25.

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Kontou, Tatiana, Victoria Mills, and Kate Nichols. "Cuthbert Bede, ‘Photography in an Artistic Light’." In Victorian Material Culture, 490–91. London: Routledge, 2022. http://dx.doi.org/10.4324/9781315400266-159.

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Luong, QT. "The Formal Language of Photography: A Primer." In Modeling Visual Aesthetics, Emotion, and Artistic Style, 181–202. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-50269-9_11.

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Palmer, Daniel. "Mobile Photography and Artistic Activism in the “Instagram Museum”." In The Routledge Companion to Mobile Media Art, 313–23. New York, NY: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429242816-37.

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Volcano, Del LaGrace, Jay Prosser, and Eliza Steinbock. "INTER*me: An Inter-Locution on the Body in Photography." In Transgender and Intersex: Theoretical, Practical, and Artistic Perspectives, 189–224. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-349-71325-7_8.

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Druker, Elina. "Chapter 8. In and out of focus." In Children’s Literature, Culture, and Cognition, 189–209. Amsterdam: John Benjamins Publishing Company, 2023. http://dx.doi.org/10.1075/clcc.17.08dru.

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Anna Riwkin was a Russian-Swedish photographer who contributed significantly to the growing use of photographs in children’s picturebooks during the second half of the twentieth century. This chapter investigates the photographic techniques and genres in Riwkin’s works for children. Using a selection of reportage portraits and photo books by her as a starting point, the chapter discusses the relationship between words and images in photo narratives for children. During the early part of her career, Riwkin specialized in portraits and dance photography and during the 1930s, she added journalistic work to her repertoire. Traces of all these genres are evident in her photographic picturebooks. They express realist and documentary ambitions, aiming to capture the perspective of the individuals portrayed, but at the same time their images are staged and embedded in a narrative, which affects their expression and style. Riwkin’s choice to work with children’s literature also raises questions about women photographers’ position within the field of photography. How were women photographers perceived within different types of photography? Should the aim to work with children’s books be understood in relation to the artist’s socially engaged approach or was it seen as particularly suitable for a female photographer? Since Riwkin was one of the pioneering women photographers in Europe, the reception of her work is of utmost interest, both when it comes to contemporary critique and the perception of her work in later photographic research.

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Nikonanou, Niki, Panagiotis A. Kanellopoulos, Elena Viseri, and Elina Moraitopoulou. "Educational Commons in Art Museums." In Educational Commons, 151–72. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-51837-9_9.

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AbstractThis chapter reports on four case studies that took place at four museums of the Metropolitan Organisation of Museums of Visual Arts (MOMus) in Thessaloniki, Greece, the Museum of Contemporary Art, the Experimental Center for the Arts, the Museum of Photography and the Museum of Modern Art-Costakis Collection. Different groups of young people participated in case studies that sought to bring together educational commons and collaborative artistic experimentation, leading to the co-creation of artistic projects. The chapter focuses on how commoning processes might contribute to the transformation of the museum towards an open-source institution through the cultivation of commoning practices in museum education. We also highlight the value of delving into forms of creative artistic engagement that induce unlearning traditional roles and questioning hierarchical power distribution.

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Maschner, Herbert D. G., Víctor Manuel López-Menchero Bendicho, Miguel Ángel Hervás Herrera, Jeffrey Du Vernay, Aurelia Lureau, and James Bart McLeod. "At the Intersection of Art, Architecture and Archaeology: 3D Virtualization and Contemporary Heritage." In Proceedings e report, 34–40. Florence: Firenze University Press, 2018. http://dx.doi.org/10.36253/978-88-6453-707-8.08.

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We are at a global transition where disciplines from art to computer engineering intersect in the realm of global digital heritage. This has been facilitated by the development of desktop high-speed computing, inexpensive photogrammetry software, and digital photography. These technologies, and the tools to make them useful both in the lab and on the web, require the appropriate integration of technical skill, artistic license, archaeological background knowledge, and architectural realities.

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Actes de conférences sur le sujet "Photography, Artistic"

Strava, Salomea, Cristian Tecu, and Mihai Onita. "" TEACH ME PHOTOGRAPHY, ROBOT." A CASE STUDY REGARDING VISUAL EDUCATION." In eLSE 2021. ADL Romania, 2021. http://dx.doi.org/10.12753/2066-026x-21-200.

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Visual arts-mediated education and training are inherent to the learning process irrespective of its traditional, digital, or hybrid formats. Photography entails creative functions while the image creator implicitly needs to be enabled through training to produce compositions that observe communication rules while simultaneously breaking wittingly the same rules. The current paper identifies quality criteria underlying highly rated photographs and features an artistic composition-based section. The main factors that influence the composition are the rule of thirds (division, point of interest)

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Simonsen, Talette. "The Photo book as Symphony – Ronchamp as Sculpture: Re-composing Architectural Photography." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.935.

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Abstract: This paper suggests that Le Corbusier’s editorial composition of the book Ronchamp: Les Carnets de la recherche patiente 2 can be regarded as an artisticmanner ofre-composing architectural photography that partly contrasts LeCorbusier’s otherwise conservative concept of the synthesis of the arts,which so far had excluded themediumof photography. The paper proposesthat the book,which was published at a time when The Chapel of Ronchamp (1950-1955) had become controversial among architectural critics, aspired to communicate the architectural project as a work of art by creating links to

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Wilber, Michael J., Chen Fang, Hailin Jin, Aaron Hertzmann, John Collomosse, and Serge Belongie. "BAM! The Behance Artistic Media Dataset for Recognition Beyond Photography." In 2017 IEEE International Conference on Computer Vision (ICCV). IEEE, 2017. http://dx.doi.org/10.1109/iccv.2017.136.

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Luo, Bin. "An Analysis of the Artistic Photography of Digital Technology Creation." In 4th International Conference on Arts, Design and Contemporary Education (ICADCE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icadce-18.2018.8.

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NECHIFOR, Oana. "(At) Home and (On) the Road: Contemporary Photography Techniques of Documenting the Migration Phenomenon." In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0025.

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The current presentation includes several queries regarding the interaction of migration and globalization – one of the most significant phenomena of social transformation in recent decades, as well as the meanings that this interaction presents for artistic research and practice. The major social and cultural transformations that have taken place in recent decades following more intense migratory movements have sparked an interest among artists for creating visual discourses, which, by using languages specific to different genres and environments, contribute to the dissemination of knowledge

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Reinhuber, Elke. "ConformiTree: an artistic research on the expansion of photography to the third dimension." In KUI '23: Culture and Computer Science. New York, NY, USA: ACM, 2023. http://dx.doi.org/10.1145/3623462.3623467.

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Nascimento, Suely. "Marlene's house." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.106.

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As an artist-researcher, I have been developing the research “Marlene's house” in the Doctorate in Arts, Graduate Program in Arts, Institute of Art Sciences, Federal University of Pará, since 2018. An extension of the research I produced in the Master's Degree in Arts, at the same institution of higher education, from 2016 to 2018. It is a poetics built from family and affective memory, in which photography, video, sound, writing, smell, taste, touch and feeling merge. And it is part of research line 1, on poetics and acting processes, dedicated to research in the arts, with a focus on poetics

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Lasaosa, Virginia Espa, María José Gutiérrez Lera, María Cañas Aparicio, and María Adelaida Gutiérrez Martín. "Veinte años de docencia de la fotografía. Estudio de caso: Escuela de Arte de Huesca (España), Twenty years teaching photography. Case study: The Art School of Huesca (Spain)." In I Congreso Internacional sobre Fotografia: Nuevas propuestas en Investigacion y Docencia de la Fotografia. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cifo17.2017.6741.

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ResumenEl Ciclo Formativo de Grado Superior en Fotografía pertenece a la familia profesional artística de Comunicación Gráfica y Audiovisual y forma parte del sistema educativo español público.Esta comunicación presenta un panorama de la evolución de los estudios sobre fotografía en las Escuelas de Artes Plásticas y Diseño, exponiendo, a través del ejemplo de la Escuela de Arte de Huesca, el caso de la Comunidad Autónoma de Aragón.La implantación del grado superior de fotografía en Huesca se incardinó en la estructura propicia que aportaba una ciudad acostumbrada a valorar este modo de expresi

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Wang, Qiming. "Research on the Artistic Feature Trend of Fashion Photography under the Influence of Conceptual Art." In 3rd International Conference on Arts, Design and Contemporary Education (ICADCE 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icadce-17.2017.30.

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Xing, Xiangyang. "Visual Saliency Analysis of Artistic Photography based on Single-Angle Image Reconstruction Algorithm with Attention Model." In 2022 6th International Conference on Computing Methodologies and Communication (ICCMC). IEEE, 2022. http://dx.doi.org/10.1109/iccmc53470.2022.9754008.

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Rapports d'organisations sur le sujet "Photography, Artistic"

Editors, Intersections. On Religion: Photography in Collaboration. Intersections, Social Science Research Council, April 2024. http://dx.doi.org/10.35650/int.4061.d.2024.

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This article showcases photographic essays produced by collaborations between visual artists, journalists, and religious scholars through a partnership between New York University and the Magnum Foundation.

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Sequeira, Dora María, Ileana Alvarado V., and Félix Angel. Young Costa Rican Artists: Nine Proposals. Inter-American Development Bank, August 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, March 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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Moreno Mejía, Luis Alberto, and Iván Duque Márquez. Contemporary Uruguayan Artists: An Uruguayan Presence in the About Change Exhibition. Inter-American Development Bank, February 2012. http://dx.doi.org/10.18235/0006209.

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Contemporary Uruguayan Artists is part of About Change: Art from Latin America and the Caribbean, a project of the World Bank Art Program in cooperation with the Cultural Center of the Inter-American Development Bank and AMA | Art Museum of the Americas at the Organization of American States. The initiative comprises a series of exhibitions of art from Latin America and the Caribbean being offered in various venues in Washington during 2011-12. The exhibition is presented In honor of Uruguay and the City of Montevideo, site of the 53rd Annual Meeting of the Board of Governors of the IDB. The w

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Karlstrom, Karl, Laura Crossey, Allyson Matthis, and Carl Bowman. Telling time at Grand Canyon National Park: 2020 update. National Park Service, April 2021. http://dx.doi.org/10.36967/nrr-2285173.

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Grand Canyon National Park is all about time and timescales. Time is the currency of our daily life, of history, and of biological evolution. Grand Canyon’s beauty has inspired explorers, artists, and poets. Behind it all, Grand Canyon’s geology and sense of timelessness are among its most prominent and important resources. Grand Canyon has an exceptionally complete and well-exposed rock record of Earth’s history. It is an ideal place to gain a sense of geologic (or deep) time. A visit to the South or North rims, a hike into the canyon of any length, or a trip through the 277-mile (446-km) len

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Paradox and Coexistence: Latin American Artists, 1980 - 2000. Inter-American Development Bank, January 2002. http://dx.doi.org/10.18235/0005931.

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The show represents a number of artistic trends developed by Latin American artists during the last two decades of the 20th Century. An assortment of works in different media¿oil on canvas, acrylics, rusted steel, photography, video, photography collage, ceramic, cedar wood and ropes, and paper sculpture¿provides a general view of the latest art trends in Latin America. The exhibit complements the book ¿Art of Latin America, 1981-2000¿ by Colombian Professor Germán Rubiano Caballero, which was launched in English and Spanish. Galleries and artists from Latin America and the United States colla

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Mexico 2010: A Vision of the 21st Century. Inter-American Development Bank, March 2010. http://dx.doi.org/10.18235/0006417.

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The exhibit has been organized in honor of Mexico, site of the 51st Annual Meeting of the Board of Governors of the Inter-American Development Bank, that will take place in Cancun in March of 2010. 26 selected photographs from more than two hundred entries submitted to the 2009 Cultural Center Open Call for Mexican Photographers will be on the exhibit. The intention of this photographic survey is to gauge the perceptions among visual artists in Mexico, in light of the realities and challenges facing their nation in the first decade of the new century. The winners are: Eric Scibor Rylski (First

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First Inter-American Competition and Exhibition of Digital Photography. Inter-American Development Bank, January 2004. http://dx.doi.org/10.18235/0008284.

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First Inter-American Competition and Exhibition of Digital Photography sponsored by the IDB Cultural Center and the IDB Information and Communication Technology for Development Division, met January 12 and 13, 2004, in Washington, D.C., and reviewed 300 entries submitted by 100 artists from 20 countries.

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First Inter-American Competition and Exhibition of Digital Photography. Inter-American Development Bank, February 2004. http://dx.doi.org/10.18235/0005914.

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During 2003-04, a completely virtual project was organized to promote regional integration through the use of new information and communication technologies for development among other things. A jury reviewed 300 entries submitted by 100 artists from 20 countries. The exhibition was launched on the Internet in February 2004 announcing the results: Awards were given to Alejandro Crisóstomo F. (Guatemala); Miguel A. Caprara (Argentina); Ricardo Vargas B. (Peru); and Juan A. Sánchez O.(Colombia). Honorable Mentions were to given to: Raul A. Villalba (Argentina); Gonzalo Contreras del Solar (Boliv

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At the Gates of Paradise: Art of the Guaraní of Paraguay. Inter-American Development Bank, September 2005. http://dx.doi.org/10.18235/0008210.

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The exhibit unites a number of artistic expressions of the Guaraní Indians of Paraguay, from the colonial period to the present. Include 65 pieces including statuary, both sacred and secular, photographs, videos, and contemporary art. All of the art works allow for a better understanding of the Guaraní culture that transmits knowledge fundamentally through an oral tradition, but has also come to assimilate a number of influences, modifying them to their own needs. The exhibition was open at the Art Gallery of the Cultural Center of the Inter-American Development Bank on September 2005.

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