Thematische Bibliographien / Art and society

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Auswahl der wissenschaftlichen Literatur zum Thema „Art and society“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 31. Juli 2024

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Zeitschriftenartikel zum Thema "Art and society"

Corcoran, Ali. „Art & Society: The Art of Work“. Circa, Nr. 72 (1995): 41. http://dx.doi.org/10.2307/25562814.

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Mathews, Patricia, und Whitney Chadwick. „Women, Art, and Society (World of Art)“. Art Bulletin 73, Nr. 2 (Juni 1991): 336. http://dx.doi.org/10.2307/3045802.

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Garrard, Mary D., und Whitney Chadwick. „Women, Art, and Society“. Woman's Art Journal 12, Nr. 2 (1991): 36. http://dx.doi.org/10.2307/1358283.

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Sonia, Ashutosh Kumar. „ART AND SOCIETY RELATIONSHIP“. International Journal of Research -GRANTHAALAYAH 7, Nr. 11 (30.11.2019): 59–62. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.988.

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English : The painting is produced for the purpose of society. Arts have always been responsible for social facts and they express the wishes of society. The sense of painting (art) is hidden in the arts. It is free from rules even after being bound in social bond. Art is a part of the culture of the society, which the society keeps on progressing as tradition and art always lives. The artist creates a relationship only with the appearance, activities and feelings of society in the external world. In his creation, social emotions are directly related to human instincts. The expression of these feelings is expressed in artistic creation, as a result the form of art is also universal. The talent of the artist, his self-power and his artistic elements, in the form of art, harmonize with the nature and emotions of the society, giving it a wider look. Most of the subjects of art are the problems of the society then, in this purpose, the personality takes a secondary form in creation and the reflection of the needs of the society is reflected in its creation. In such a situation, the artist wants to achieve self-peace through expressive purpose. In this situation one chooses his own path to achieve the objective, but can never remain separate from society. But in front of technical principles, the goal of the viewer's joy and self-power remains. On the basis of the principle, the form of art created in the first position is pure and original and in the second position, the form of art is practical and originality away from it for the goal. As a result, many techniques have to be adopted and presented as crafts. Hindi : चित्रकला समाज के उद्‌देश्य पूर्ति के लिए निर्मित की जाती है। कलाएँ सामाजिक तथ्यों के प्रति सदैव उत्तरदायी रही हैं तथा इनमें समाज की इच्छाओं की अभिव्यक्ति होती है। कलाओं में चित्रकला (कला) का भाव छिपा रहता है। यह सामाजिक बन्धन में बंधे होने के पश्चात्‌ भी नियमों से स्वतन्त्र होती है। समाज की संस्कृति का एक अंग कला है, जिसको समाज परम्परा के रूप में क्रमशः आगे बढ़ाता रहता है और कला सदैव जीवित रहती है। कलाकार वाह्‌य जगत के रूप-स्वरूप, गतिविधियों एवं समाज की भावनाओं से सम्बन्ध बनाकर ही सृजन किया करता है वह अपने सृजन में सामाजिक भावनाओं का मानव-वृत्तियों से सीधा सम्बन्ध रखता है। कलात्मक सृजन में इन्ही भावनाओं की अभिव्यक्ति होती है, परिणाम स्वरूप कला का रूप भी विश्वव्यापी होता है। कलाकार की प्रतिभा, उसकी आत्मशक्ति एवं उसके कलात्मक तत्व, कला के रूप में समाज के स्वरूप और भावनाओं के साथ सामंजस्य जोड़कर, उसको व्यापक रूप प्रदान करते हैं। कला के अधिकांश विषय तत्कालीन समाज की समस्यायें ही होती है, इस उद्‌देश्य से किये गये सृजन में व्यक्तित्व गौण रूप ले लेता है ओर समाज की आवश्यकताओं का प्रतिबिम्ब उसके सृजन मे स्पष्ट झलकता रहता है। कलाकार ऐसी स्थिति में उद्‌देश्य अभिव्यक्ति के माध्यम से आत्मशान्ति प्राप्त करना चाहता है। इस स्थिति में उद्‌देश्य के प्राप्ति के लिए स्वयं अपना मार्ग चुनता है, लेकिन समाज से कभी अलग नहीं रह सकता है। किन्तु तकनीकी सिद्धान्तों के समक्ष दर्शक के आनन्द और आत्मशक्ति का लक्ष्य रहता है। सिद्धान्त के आधार पर पहली स्थिति में सृजित कला का रूप शुद्ध और मौलिक होता है तथा दूसरी स्थिति में लक्ष्यपूर्ति के लिए कला का रूप व्यावहारिक एवं मौलिकता उससे दूर हो जाती है। फलस्वरूप अनेकानेक तकनीकों को ग्रहण करना तथा उन्हें शिल्प के रूप में प्रस्तुत करना होता है।

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Gebauer, Gunter, Christopher Wulf und Don Reneau. „Mimesis: Culture--Art--Society“. Philosophy East and West 47, Nr. 2 (April 1997): 291. http://dx.doi.org/10.2307/1399889.

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Barber, Fionna, und Whitney Chadwick. „Women, Art and Society“. Circa, Nr. 52 (1990): 42. http://dx.doi.org/10.2307/25557541.

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Crudden, Eamonn. „Art & Society: Translations“. Circa, Nr. 71 (1995): 26. http://dx.doi.org/10.2307/25562771.

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Malina, Roger F., und Whitney Chadwick. „Women, Art and Society“. Leonardo 24, Nr. 4 (1991): 491. http://dx.doi.org/10.2307/1575544.

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Bermann, Marc. „Art, society and archaeology“. Nature 364, Nr. 6434 (Juli 1993): 202. http://dx.doi.org/10.1038/364202a0.

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Eogan, George. „Megalithic Art and Society“. Proceedings of the Prehistoric Society 65 (1999): 415–46. http://dx.doi.org/10.1017/s0079497x00002073.

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Megalithic art is associated with passage tombs in Atlantic Europe. But it is not found in all areas, rather it has a restricted distribution. In those areas where it occurs it is very often associated with large and, therefore, prestigious tombs. These tombs have a confined distribution within defined areas. It can be argued that such areas indicate tribal regions within which elite societies existed and where cohesion was provided by a leader, possibly in the form of a chief.

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Dissertationen zum Thema "Art and society"

Armfield, Maris Margaret Doris. „Art and society in Ulm 1377-1530“. Thesis, University of Glasgow, 2012. http://theses.gla.ac.uk/3669/.

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The imperial city of Ulm in southwest Germany was one of the largest in the country during the Middle Ages, and one of four important centres in the Swabian region. In the fourteenth and fifteenth centuries the region was characterised by a large number of towns and cities, especially imperial cities, most of which lay south of the Swabian Alps, in Upper Swabia. For their protection the towns formed into the Swabian League of which Ulm had leadership until the latter part of the fifteenth century. The League restrained the ambitions of emperor and the princes, and effectively maintained relatively peaceful conditions in the region for most of the fifteenth century. The cities relied largely on trade, shipping iron, salt, meat and grain from eastern areas into the southwest for distribution. There was also a vast textile industry, producing woollen cloths and fustian, or barchent, with a mixture of cotton and linen. Wool and flax were produced locally, while cotton was brought from Venice, and finished cloth distributed throughout Europe. This led to the rise of family merchant companies that handled import, export, distribution, and in some cases production. Familial networks were key. Such networks were also fundamental for craft communities throughout the region and artisans frequently moved to train or work. As a large centre, Ulm produced much sculpture and painting with production peaking during the second half of the fifteenth century, resulting in an extensive export market. As with all imperial cities, Ulm relied on its relationship with the empire for its ability to function, politically and economically. Largely because of its wealth, it gained a high level of autonomy, which it used to acquire an extensive territorial area, and to secure authority over the parish, its church, and local foundations. Of fundamental importance was the parish church of Our Lady, which was relocated into the heart of the commercial area of the city and rebuilt on a massive scale signalling the might of the town. The renewed importance of Our Lady encouraged endowments and gifts, and helped secure the authority of the patriciate, especially the Krafft family. In the face of guild uprisings during the fourteenth century, the patriciate of Ulm was a particularly closed type and social demarcation was rigorously practised. Inter-marriage with a select group of traders, however, resulted in a ruling body that effectively developed into an oligarchy, despite substantial guild representation on the civic council. A small group held power over many years and most aspects of everyday living were closely regulated and policed. Artistic styles and developments reflected this stable, yet rather restricted climate. Change was adopted with caution. But, arguably, styles also reflected wider regional trends that, to an extent, might be classed as traditionally Swabian. The characteristic regional style might also have been linked to mysticism and pious practices amongst female religious that had filtered into civic life. As vibrant commercial centres, the cities were conscious of a communal responsibility. Ultimately, this somewhat conservative attitude led to a shift in artistic production during the last decade of the fifteenth and into the sixteenth century. Ulm was unable to keep pace with wider political and commercial developments, and in certain ways Ulm did not provide artists with the conditions necessary to fully exploit their talents.

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Tingvall, Josefin. „Soft Society“. Thesis, Konstfack, Textil, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-5853.

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Illustrated exam paper for Josefin Tingvalls project Soft Society. Which is about investigating through cloth and textile our urban surrounding. The core question ; if I go out in an urban area and use textile as a recordmaterial, what traces and stories will I bring back? By looking at textileas a matter, craft and as a philosophical starting point in urban areas, what can it tell about our surrounding and our society? In the three mainchapters of the paper, Tingvall reflects upon important themes such as wandering and spectating, also exhibiting of process based craft, textilein urban areas and matter-based dyes and their relation to us.
Soft society

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Guidas, Karen A. „Image power the role of art in society /“. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only. Instructions for remote access, 2004. http://www.kutztown.edu/library/services/remote_access.asp.

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Thesis (M. Ed. )--Kutztown University of Pennsylvania, 2004.
Source: Masters Abstracts International, Volume: 45-06, page: 2748. Typescript. Abstract precedes thesis as 1 preliminary leaf (iii ). Includes bibliographical references ( leaves 73-76 ).

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Goodwin, R. „Food, art, and society in Early Modern Spain“. Thesis, University of London, 2001. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.540098.

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Bosch, Susanne. „Learning for civil society through participatory public art“. Thesis, Ulster University, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.591052.

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In this PhD by Publication I argue that my art practice serves as a useful contributor towards shaping elements for the activation of civil society. Through consideration of three interrelated examples from my art practice from 1998-2011, which emerged from my Restpfennigaktion (Left-over Penny Campaign) an artistic methodology has emerged that shows links between the artwork as process and product in relation to notions of transformation. Lynn Froggett writes, "The transformative potential is realised when it generates a cultural form for experience that needs the visual or performative register for its fullest expression." I unpick and position the role of my practice using theoretical frameworks of participatory art as life, such as art and social sculpture (Beuys) in relation to the discourse used by theorists such as Claire Bishop, who aligned a socially engaged public art practice with ideas of civil society and democracy. I also use critical pedagogy and conflict resolution to position my work in this realm. Equally important is the role of a selected number of examples of participatory art works by others, such as MA, Park Fiction and Schlingensief, as well as Suzanne Lacy. Innovative strategies in my work are the implementation and cross-sector uses of that knowledge through artistic practice. The three projects under consideration were time-based interventions, which sought to engage people in penny-giving, wish-giving and wish realization in Germany (Left-over Penny Campaign), Italy (lnitizativa Centesimo Avanzato) and Spain (Hucha de Deseos). As a result of undertaking this research, a suite of questions revealed themselves from within the practice. The questioning was specifically focused around the following three areas: the role of aesthetic form in my art practice, different conceptions of my role as artist, and how practitioners working in public or social space are affected by and respond to contexts. These questions arose during the processes of art-making and within the context of this research project. They emerged in response to a broadening of my ideas of participation, and participatory decision-making. It became clear that I was evolving new skills, in order to find appropriate and satisfying responses to these questions. I found myself by necessity seeking answers for the advancement of my art making by moving beyond traditional artistic strategies and into areas of knowledge, such as formalised conflict resolution, pedagogy, gift economy, leadership, self organisation, creative solutions in community development and undertaking a PhD. 1 Froggett, Lynn (ed), New Model Arts Institutions and Public Engagement, Research Study, Headline Findings, uclan, 2011, p. 10. [online] Available at Participatory public art refers to an art practice that features the transformation of individuals and societies for a common good. It aims to contribute to perceived demands for transition processes and is necessarily aware of and responsive to conditions that characterise a democratic civil society, which hopes for non-violent and fruitful transformations. The current global socia-political, ecological and cultural climate, currently dominated by the economic taxonomies, demands transformational processes if future life on earth is to be secured. Hence my art projects highlighted money, its meaning and ways of transformation, through focusing on gift economy more than on exchange economy. My three projects highlighted on the one hand the limits of our existing man-made systems, on the other, they demonstrated how participatory public art can be a mode of transformation.

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Leung, Mei-yin. „The Chinese Women's Calligraphy and Painting Society the first women's art society in modern China /“. Click to view the E-thesis via HKUTO, 2004. http://sunzi.lib.hku.hk/HKUTO/record/B38628697.

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Lymer, Kenneth J. „Animals, art and society : rock art and material culture in ancient Central Asia“. Thesis, University of Southampton, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.400540.

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Driskel, Michael Paul. „Representing belief : religion, art, and society in nineteenth-century France /“. University Park (Pa.) : Pennsylvania State university press, 1992. http://catalogue.bnf.fr/ark:/12148/cb35716402q.

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Leung, Mei-yin, und 梁美賢. „The Chinese Women's Calligraphy and Painting Society: the first women's art society in modern China“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B38628697.

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Jakubowicz, Rosa. „Art, the self, and society : the human possibilities in John Dewey's Art as experience“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ64160.pdf.

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Bücher zum Thema "Art and society"

Willats, Stephen. Society through art. Den Haag: HCAK, 1990.

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Peter, Lord. Industrial society. Cardiff: University of Wales Press, 1998.

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Chadwick, Whitney. Women, art, and society. 3. Aufl. London: Thames and Hudson, 2002.

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Harpin, Anna. Madness, Art, and Society. Milton Park, Abingdon, Oxon; New York: Routledge, 2017.: Routledge, 2018. http://dx.doi.org/10.4324/9781315149257.

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Chadwick, Whitney. Women, art, and society. 2. Aufl. London: Thames and Hudson, 1996.

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Society, Art Libraries, und ARLIS, Hrsg. Art Libraries Society Directory. Bromsgrove: ARLIS/UK & Ireland, 1995.

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Chadwick, Whitney. Women, art, and society. New York: Thames and Hudson, 1990.

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Gebauer, Gunter. Mimesis: Culture, art, society. Berkeley: University of California Press, 1995.

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Selwood, Sara. Art & Society: Art initiative and research projects. London: Art& Society, 1989.

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Phillips New York (Auctioneers : 2001). American art. New York: Phillips, de Pury & Luxembourg, 2003.

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Buchteile zum Thema "Art and society"

Pontieri, Laura. „Art and Society“. In Fëdor Khitruk, 73–88. Boca Raton: CRC Press, 2023. http://dx.doi.org/10.1201/9781003199625-4.

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Szakolczai, Arpad. „Trickster art“. In Post-Truth Society, 107–24. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003225553-11.

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Filipová, Marta. „Society“. In Modernity, History, and Politics in Czech Art, 85–116. New York: Routledge, 2019. | Series: Routledge research in art and politics: Routledge, 2019. http://dx.doi.org/10.4324/9780429505140-4.

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Campbell, Matthew. „Art, Self, and Society“. In A Companion to British Literature, 89–106. Oxford, UK: John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781118827338.ch81.

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Bittar, Eduardo C. B. „Society, Law and Art“. In Semiotics, Law & Art, 51–69. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-58880-9_3.

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Sekules, Veronica. „England: Art and Society“. In A Companion to Britain in the Later Middle Ages, 472–96. Malden, MA, USA: Blackwell Publishers Ltd, 2007. http://dx.doi.org/10.1002/9780470998786.ch24.

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Chou, Chih-P’ing. „The Chinese Art Society“. In English Writings of Hu Shih, 149–53. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-31184-0_21.

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Holm, Nicholas. „Advertising as art“. In Advertising and Consumer Society, 166–86. 2. Aufl. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003253037-12.

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Billington, Rosamund, Sheelagh Strawbridge, Lenore Greensides und Annette Fitzsimons. „‘High’ Culture, Art and Aesthetics“. In Culture and Society, 44–63. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21518-8_3.

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Wheeler, Quentin. „The Art of Survival“. In Species, Science and Society, 22–25. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003389071-5.

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Konferenzberichte zum Thema "Art and society"

Selikoff, Nathan. „A Society of Stickpeople (captured, #31)“. In ACM SIGGRAPH 2006 Art gallery. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1178977.1179060.

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Foster, Frank, und Yosh Kambe. „Virtual society“. In ACM SIGGRAPH 96 Visual Proceedings: The art and interdisciplinary programs of SIGGRAPH '96. New York, New York, USA: ACM Press, 1996. http://dx.doi.org/10.1145/253607.253719.

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Hu, Xiaochen. „Society, Art and Technology'Innovation Origin of Interaction Design“. In 2015 International Conference on Economy, Management and Education Technology. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/icemet-15.2015.53.

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Ueda, A., und K. Miyazaki. „Sustainable society based on traditional art and craft“. In 2003 IEEE 58th Vehicular Technology Conference. VTC 2003-Fall (IEEE Cat. No.03CH37484). IEEE, 2003. http://dx.doi.org/10.1109/vetecf.2003.239925.

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Ueda und Miyazaki. „Sustainable society based on traditional art and craft“. In 2003. 3rd International Symposium on Environmentally Conscious Design and Inverse Manufacturing - EcoDesign'03. IEEE, 2003. http://dx.doi.org/10.1109/ecodim.2003.1322705.

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Naranjo, Alejandro Martin, und Holger Sprengel. „Art and VR Technology, Creating the “Experience Society”“. In 2018 IEEE International Symposium on Mixed and Augmented Reality Adjunct (ISMAR-Adjunct). IEEE, 2018. http://dx.doi.org/10.1109/ismar-adjunct.2018.00087.

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„[Cover art]“. In Third International Conference on Digital Society. ICDS 2009. IEEE, 2009. http://dx.doi.org/10.1109/icds.2009.68.

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„[Cover art]“. In 2008 IEEE Computer Society Annual Symposium on VLSI. IEEE, 2008. http://dx.doi.org/10.1109/isvlsi.2008.104.

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„Cover Art“. In 2012 IEEE Computer Society Annual Symposium on VLSI (ISVLSI). IEEE, 2012. http://dx.doi.org/10.1109/isvlsi.2012.85.

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„Cover Art“. In 2016 IEEE Computer Society Annual Symposium on VLSI (ISVLSI). IEEE, 2016. http://dx.doi.org/10.1109/isvlsi.2016.143.

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Berichte der Organisationen zum Thema "Art and society"

Kartheus, Wiebke. Art Museums in US Society. The Stacks, 2019. http://dx.doi.org/10.32784/libaac-418.

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Levy, Jacob. Corps Intermédiaires, Civil Society, and the Art of Association. Cambridge, MA: National Bureau of Economic Research, Juni 2015. http://dx.doi.org/10.3386/w21254.

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Harbitz, Mia Elisabeth, und Iván Arcos Axt. Identification and Governance Policies: The Legal, Technical, and Institutional Foundations that Influence the Relations and Interactions of the Citizen with the Government and Society. Inter-American Development Bank, September 2011. http://dx.doi.org/10.18235/0009015.

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This IDB technical note seeks to highlight the relationship that exists between a country's level of governance, the success of digital government strategies, and the identification policies that government implements, as well as the interdependence between them. Belgium, Chile, and Mexico were chosen as case studies, because they share characteristics making them in some ways comparable. Moreover, amongst other reasons, they are all OECD-member countries, they have well-defined digital government strategies, and they are in the process of implementing (with differing degrees of progress) a state-of-the-art electronic identification (e-Id) card.

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Vena, Anne. Cultural Center Annual Report 2012. Inter-American Development Bank, März 2013. http://dx.doi.org/10.18235/0006015.

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The Cultural Development Program promotes cultural development in Latin America and the Caribbean by financing innovative projects for training to restore artistic traditions, preserve cultural heritage, and educate youth. In 2012, we supported civil society organizations that submitted training programs related to new technologies, creative industries, tourism and natural heritage, among others. Concerts, lectures, films, art exhibitions held at headquarters representing the Bank's member countries cultural heritage

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Gandzyuk, Vitaliy. KEYWORDS IN THE CONTEXT OF PUBLICATIONS OF THE JOURNAL «SUCHASNIST». Ivan Franko National University of Lviv, März 2024. http://dx.doi.org/10.30970/vjo.2024.54-55.12138.

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The article examines the publicistic texts of the journal «Suchasnist», which at various times of its existence developed the national idea, united Ukrainians, supported the patriotic spirit, oriented politically, informed about the events of cultural life, published new works of art by domestic writers, revealed to readers the names of those banned during the Soviet era talented representatives of the Ukrainian diaspora. The main problems of the journal in the last years of its operation have been clarified. The issue of the negative impact of the entire Russian and Soviet heritage on the development of Ukraine, the unreliability of many historical facts and their manipulation, the peculiarities of Ukrainian democracy, the strengthening of the influence of the oligarchy, the inertia of civil society, and the decline of national culture is considered. The place of keywords in the context of journal publications, which are characterized by frequency of use and additional associative subtext, is determined. Key words: Ukraine, independence, civil society, nationalism, Ukrainian elite, power, revolution.

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Rogers, Amanda. The Seven Colours Festival: Young People and Civic Participation in the Arts. Swansea University, Juli 2024. http://dx.doi.org/10.23889/sureport.66346.

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Based on our previous research (Rogers et al 2021) we noticed a difference between how artists think the arts relate to society, and how young people imagine this relationship. Young people wanted to see (and connected most strongly to) art works that more immediately engaged with the pressing social issues of Cambodia, many of which are political – including climate change, the expression of identity and human rights (e.g. LGBTQ identity), corruption and scams, and democracy. However, artists, particularly in the performing arts and music sectors, must walk a tightrope in making works that address this kind of content, with incidents of censorship most likely to occur in music (Brennert and Yean 2023). This raises the question of how the arts can connect to society, and the possibilities and limitations of this relationship. This project follows on from our initial findings, focusing on young people who may not have much experience of the arts. It considers how the arts may work for young people as a form of civic participation and what that might look like in Cambodia. To do this it traced the journey of four young interns in producing a youth festival (the 7 Colours Festival) during the course of 2023 for Cambodian Living Arts (CLA). We examined their participation in creating the event, how they connected the festival to the social concerns of young people, and evaluated how young people participated in the festival. Translation report available.

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Aguinis, Marcos, Salomón Lerner und Darío Ruíz Gómez. The Essential Role of Ethics in the Developmen of Latin America: Convictions That Sabotage Progress: The Difficulty of Telling the Truth. Inter-American Development Bank, April 2004. http://dx.doi.org/10.18235/0007951.

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Salomón Lerner (1944-), Peruvian philosopher, Rector of Pontifical Catholic University of Peru (1994-2004), Angel Escobar Jurado National Human Rights Award (2003). Marcos Aguinis (1935-), Argentine physician, former Minister of Culture in Argentina, Planeta Prize (Spain), Grand Prize of Honor by the Argentine Society of Writers. Darío Ruiz Gómez (1935-), Colombian art and literary critic, former Professor of Architecture in Medellín, published four books of poetry and five books of short stories.

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Kupfer, Monica E. Perceptive Strokes: Women Artists of Panama. Inter-American Development Bank, März 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 also show the position of women in Panamanian society, and their views of themselves through their own and others¿ eyes. Among the artists are: Susana Arias, Beatrix (Trixie) Briceño, Fabiola Buritica, Coqui Calderón, María Raquel Cochez, Donna Conlon, Isabel De Obaldía, Sandra Eleta, Ana Elena Garuz, Teresa Icaza, Iraida Icaza, Amelia Lyons de Alfaro, Lezlie Milson, Rachelle Mozman, Roser Muntañola de Oduber, Amalia Rossi de Jeanine, Olga Sánchez, Olga Sinclair, Victoria Suescum, Amalia Tapia, Alicia Viteri, and Emily Zhukov.

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Cramer, III, und Walter E. The Year of Values. Professional Military Values, are they Relevant to Today's Society? Fort Belvoir, VA: Defense Technical Information Center, Mai 1986. http://dx.doi.org/10.21236/ada170151.

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Khan, B. Zorina. Prestige and Profit: The Royal Society of Arts and Incentives for Innovation, 1750-1850. Cambridge, MA: National Bureau of Economic Research, Januar 2017. http://dx.doi.org/10.3386/w23042.

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