Thematische Bibliographien / Artist

Inhaltsverzeichnis

  1. Zeitschriftenartikel
  2. Dissertationen
  3. Bücher
  4. Buchteile
  5. Konferenzberichte
  6. Berichte der Organisationen

Auswahl der wissenschaftlichen Literatur zum Thema „Artist“

Autor: Grafiati
Veröffentlicht am 4. Juni 2021
Zuletzt aktualisiert am 7. September 2024

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Zeitschriftenartikel zum Thema "Artist"

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Shields, Alison Lea, Ingrid Mary Percy und Teresa Vander Meer-Chassé. „Making Time and Space for Art: An Examination of an Artist-in-Residence Within a Postsecondary Art Education Program“. Canadian Review of Art Education 48, Nr. 1 (11.12.2021): 73–99. http://dx.doi.org/10.26443/crae.v48i1.96.

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Abstract: This article examines the process and impact of an artist-in-residence program in Art Education at the University of Victoria. After an open call to artists, contemporary Upper Tanana visual artist, Teresa Vander Meer-Chassé, member of the White River First Nation of Beaver Creek, Yukon and Alaska was selected as the inaugural artist-in-residence. Through research-creation and qualitative methods this research examines the artist’s artistic process and the impact of an artist-in-residence on students’ and faculty’s perception of artistic practice and their experience working with an artist-in-residence within a post-secondary space of learning. Through photographic documentation, reflections and interviews by participants, the article examines ways the artist-in-residence enriched student and faculty learning in a Faculty of Education. Keywords: Artist-in-residence; Post-secondary education; Artistic inquiry; Indigenous pedagogy; Beading. Résumé : Cet article s’intéresse au processus et à l’impact d’un programme d’artiste en résidence dans le domaine de l’enseignement des arts à l’Université de Victoria. Suite à une audition ouverte d’artistes, l’artiste visuelle contemporaine du Haut Tanana Teresa Vander Meer-Chassé, membre de la Première Nation de White River de Beaver Creek, du Yukon et de l’Alaska, a été choisie artiste-résidente inaugurale. La présente recherche utilise des méthodes quantitatives et de recherche-création pour étudier la démarche artistique de l’artiste et l’impact d’une artiste-résidente sur la perception de la pratique artistique chez les étudiants et le corps enseignant. On y analyse aussi l’impact de collaborer avec une artiste-résidente en milieu d’apprentissage postsecondaire. Documentation photographique, réflexions et entrevues des participant.e.s sont mises à profit pour déterminer de quelles façons l’artiste- résidente a enrichi l’apprentissage étudiant et du corps enseignant au sein de la Faculté d’éducation. Mots-clés : artiste-résidente, enseignement postsecondaire, recherche artistique, pédagogie autochtone, perlage.
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Traduzido por Talita Trizoli, Howardena Pindell. „CONSELHOS PARA UM JOVEM ARTISTA NEGRO / Advices to a young black artist“. arte e ensaios 27, Nr. 42 (03.01.2022): 336–41. http://dx.doi.org/10.37235/ae.n42.22.

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Nesse ensaio confessional, a artista afro-americana Howardena Pindell rememora alguns epis�dios de racismo em sua trajet�ria profissional como artista e curadora, al�m de oferecer alguns conselhos profissionais para jovens artistas negros, a fim de escapar de rela��es abusivas de trabalho, golpes e demais�problemas existentes no sistema das artes.Palavras-chave:Ensaio de artista. Sistema das artes. Conselhos.�AbstractIn this confessional essay, the African-American artist Howardena Pindell recalls�some episodes of racism in her professional trajectory as an artist and curator, as well as offering some professional advice to young black artists, in order to escape from abusive work relationships, scams and other problems existing in the arts system.Keywords:Artist essay. Art system. Advice.
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Marter, Joan, und Amy J. Wolf. „Significant Others: Artist Wives of Artists“. Woman's Art Journal 15, Nr. 2 (1994): 57. http://dx.doi.org/10.2307/1358612.

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Yu, Sang-Min, und Yun-Suk Lee. „A Study on the Relationship between Institutional Factors and Stress in Popular Culture Artists“. Korea Association Of Cultural Economics 27, Nr. 1 (30.04.2024): 181–207. http://dx.doi.org/10.36234/kace.2024.27.1.181.

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This study aims to analyze the stress experienced by popular culture artists in the changing work environment. This study used the data from the '2021 Survey on Artists & Activities' in Korea. We analyzed the impact of institutional factors on artists' stress by popular culture field through Ordered logistic regression analysis between film, broadcast, and popular music artists and their stress levels. Career Interruption, Activities period, education, On-the-job injury, residence area and full-time status of broadcast artist significantly affected artist's stress. Also, Public Pension Salaried Workers of broadcast artist, and Group membership of popular music artist significantly affected artists' stress. On the other hand, Experience with Artist Unemployment Insurance were not found to be significant variables. This study suggests that the impact of institutional factors may differ depending on the nature of the popular culture sector, and shows the social limitations of the Artist Unemployment Insurance. The findings suggest that institutional improvements are needed, such as including artists in the scope of existing welfare schemes.
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Nicholas Addison und 정옥희. „Artist Teachers/Teaching Artists: Negotiating Pedagogic Identities“. Journal of Research in Art Education 11, Nr. 1 (Januar 2010): 51–84. http://dx.doi.org/10.20977/kkosea.2010.11.1.51.

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MacDonald, Margaret Flora. „James McNeill Whistler: An Artist on Artists“. Visual Culture in Britain 16, Nr. 2 (04.05.2015): 200–222. http://dx.doi.org/10.1080/14714787.2015.1038437.

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Caire da Silva, Regiane Aparecida. „A formação do artista botânico no século XIX: fronteira entre ciência e arte“. História da Ciência e Ensino: construindo interfaces 20 (29.12.2019): 823–35. http://dx.doi.org/10.23925/2178-2911.2019v20espp823-835.

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ResumoA imagem botânica percorreu tendências e possibilidades técnicas singulares ao longo da sua história. Diferentes teorias influenciaram na representação das imagens das plantas, bem como a importante relação entre artista, desenhista, gravador e cientista, uma confluência entre teoria e prática - ciência e arte – apresentadas em edições fundamentais da historiografia botânica. Houve, portanto, a necessidade de formação do ilustrador para as edições científicas e de distingui-lo do artista paisagista ou pintor de flores. Contudo, essa distinção foi tênue, levando-se em conta que a própria Taxonomia de Lineu, com a publicação da obra Systema Naturae (1735), por destacar a flor na classificação, fez com que as imagens científicas estivessem muito próximas às pinturas florais decorativas. Necessitou-se da parceria do artista com o botânico, uma combinação que não ficou reservada às edições de livros e trocas de informações teóricas, mas difundiu-se igualmente na metodologia de ensino em botânica.Cabe notar que, além de desenhos ou gravuras para o aprendizado, também existiam tratados e manuais direcionados para a formação inicial do artista botânico. Este trabalho pretende mostrar que a instrução do ilustrador botânico era complexa e dependia substancialmente de esforços colaborativos entre o cientista e o artista. Principalmente na sua integração às concepções e orientações científicas para se diferenciar do pintor comum, e não apenas da habilidade artística.Palavras-chave: História da Ciência. Artista botânico. Ensino. AbstractThe botanical image has traced trends and unique technical possibilities throughout its history. Different theories influenced the representation of plant images, as well as the important relation between the artist, the draftsman, the engraver and the scientist, a confluence of theory and practice - science and art – featured in fundamental editions of botanical historiography. Therefore, there was a need for illustrators to be trained for scientific editions and to distinguish themselves from landscape artists or flower painters. However, this distinction was subtle, with the very Taxonomy of Linnaeus in his work Systema Naturae (1735) containing images that resembled decorative floral paintings due to the flowers being highlighted for classification. The partnership between the botanist and the artist became necessary not only in publishing and for scientific communication but was also incorporated in methodologies used for botany teaching. It is noteworthy that, in addition to drawings and engravings used as learning material, there were also treatises and manuals intended for the initial training of botanical artists. This work intends to show that the instruction of the botanical illustrator was complex and depended substantially on collaborative efforts between the scientist and the artist. Mainly in its integration to the scientific conceptions and orientations to differentiate itself from the common painter, and not just artistic ability.Keywords: History of Science. Botanical artist. Education.
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Ashby, James B. „Bridging the Gaps: The Puppets Up! International Puppet Festival“. Canadian Theatre Review 138 (März 2009): 33–38. http://dx.doi.org/10.3138/ctr.138.006.

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Puppet artists, from the fatherly Geppetto in The Adventures of Pinocchio to the more troubled Craig Schwartz in Being John Malkovich, are often represented as loners, pursuing their chosen art without any outside aid. The solitary puppet artist certainly exists, but as Steve Tillis points out, “[T]he opportunity for control that puppetry offers the artist is frequently taken up less for artistic reasons than for financial ones, at least in America”; and the situation is not markedly different in Canada: “[I]t is often only by working alone that an artist can earn a living” (33). Even the lone puppet artist — or indeed, perhaps especially she — can learn from exchanging ideas and techniques with other artists, however. Moreover, puppetry as a whole can only benefit from the intellectual and artistic cross-pollination that ensues when artists and companies come together in the same space, at the same time, to view and discuss each other’s work. A puppet theatre festival offers a rare chance for artists to do just that.
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Sooudi, Olga Kanzaki. „Alternative Spaces & Artist Agency in the Art Market“. Arts 9, Nr. 4 (10.11.2020): 116. http://dx.doi.org/10.3390/arts9040116.

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This article explores what alternative, or artist-led, spaces are in Mumbai today and their role within the city’s artworld. Drawing on ethnographic fieldwork in two alternative spaces, it argues that these are artist attempts to exercise agency in their work for an uncertain market context. In other words, these spaces are a strategy for artists to exercise control over their work in an uncertain art market, and a means to counterbalance their dependence on galleries in their careers. Furthermore, artists do so through collectivist practices. These spaces, I argue, challenge models of artistic and neoliberal work that privilege autonomy, independence, and isolation, as if artists were self-contained silos of productive creative activity and will. Artists instead, in these spaces, insist on the importance of social bonds and connection as a challenge to the instrumentalization and divisive nature of market-led demands on art practice and the model of the solo genius artist-producer. At the same time, their collective activities are oriented towards supporting artists’ individual future market success, suggesting that artist-led spaces are not separate from the art market, and should be considered within the same analytical frame.
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Sjöholm, Jenny, und Cecilia Pasquinelli. „Artist brand building: towards a spatial perspective“. Arts Marketing: An International Journal 4, Nr. 1/2 (30.09.2014): 10–24. http://dx.doi.org/10.1108/am-10-2013-0018.

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Purpose – The purpose of this paper is to analyse how contemporary artists construct and position their “person brands” and reflects on the extent to which artist brand building results from strategic brand management. Design/methodology/approach – A conceptual framework proposes a spatial perspective on artist brand building to reach an analytical insight into the case of visual artists in London. The empirical analysis is qualitative, based on serial and in-depth interviews, complemented by participant observations. Findings – Artist brand building relies on the creation and continuous redefinition of “in-between spaces” that exist at the blurred boundaries separating an individual and isolated art studio, and the social and visible art scene. Artist brand building is a bundle of mechanisms that, mainly occurring without strategic thinking, are “nested” within the art production process throughout which learning, producing and performing are heavily intertwined. Research limitations/implications – This study was undertaken with a focus on visual artists and specific operations and spatialities of their individual art projects. Further empirical research is required in order to fully explore the manifold of practices and spatialities that constitute contemporary artistic practice. Practical implications – This study fosters artists’ awareness of branding effects that spillover from artistic production, and thus potentially opens the way to a more strategic capitalization on these. Originality/value – The adopted spatial perspective on the process of artist brand building helps to uncover “relatively visible” and “relatively invisible” spatialities that, usually overlooked in branding debate, play a significant role in artist brand building.
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Dissertationen zum Thema "Artist"

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Mantooth, Jennifer R. „Muse as artist : selected artists past and present /“. Online version of thesis, 1992. http://hdl.handle.net/1850/11227.

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O'Neil, Maryvelma Smith. „Giovanni Baglione : seventeenth-century artist, draughtsman and biographer of artists“. Thesis, University of Oxford, 1989. http://ora.ox.ac.uk/objects/uuid:b1494a9e-8c16-4d48-9553-0f63da44cb6c.

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This thesis explores Baglione's contributions to art and to the history of art by examining the nature of his artistic and critical originality and the significant influences thereon. In the work for which he is best known, Le Vite ... (1642), Baglione was an interesting and generous critic who was unusually receptive to pictorial effects, even when in architecture and sculpture. He assesses Caravaggio's accomplishments with well chosen observations thereby breaking his restriction to discuss only accessible works of art. A broad view of his paintings and drawings shows Baglione's complex, original and thoughtful voyage of discovery assisted by the intelligence with which he absorbed artistic influences, particularly from Raphael and the Cavalier d'Arpino. His refined style of drawing distances him from Caravaggio. In paintings from the first decade, light and shadow give form to graceful figures enveloped in voluminous garments. After 1610 the compositions become more inventive and increasingly Baroque. Baglione's attempt to make a synthesis out of ideal generalization and naturalistic description and to explore new subject matter constituted a search for a "maniera propria" that combined stylistic originality with a penchant for unusual iconography. The most important trends in Baglione's draughtsmanship are the tendency towards a broader, freer handling and the versatility with which he handles the technical means at his disposal. Though he often crosses over the line into the Baroque, the idealism of his Tusco-Roman formation and fondness for angular lines constrain him from fully yielding to a dynamic disposition. His very personal style can be seen in a number of drawings from the 1620s and 1630s that attain a remarkable pictorial aspect and a Baroque quality of sensual presence. His sophisticated use of the three chalk technique prefigures the form dissolving effects to be popularized by Watteau. At the same time, the defining contour line that emphasizes integrity is not abandoned.
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Mujica, Alejandro. „Escape Artist“. Master's thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5346.

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My thesis, Escape Artist, is a composite novel written as a fictitious memoir, similar in style to Tim O'Brien's The Things They Carried, that describes my experiences between the years 2001 and 2011. During that time I went through Marine Corps Boot Camp, became a military police officer, patrolled Yuma, AZ, was sent to Iraq for a seven-month tour as a security detail just before the start of Operation Iraqi Freedom, and made it back home four years later. The novel also looks into my struggles with Post-Traumatic Stress Disorder symptoms, how they affected the people around me, and what I've been trying to do to remedy them (or ignore them).
M.F.A.
Masters
English
Arts and Humanities
Creative Writing
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Gustina, Charles F. „Escape Artist“. VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/1494.

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This thesis reviews the background, influences, and evolution of the body of work entitled Folia, which forms the basis for the candidate's thesis exhibition. It traces the development of the candidate's artistic inclinations from drawing to photography. Directorial and Pictorialist photography are discussed as forebears in the Influences chapter. Evolution of the Body of Work details how the current work grew from both the candidate's background and influences. A Brief Anthology of Quotations references Susan Sontag's influential work, On Photography, with quotations that have either influenced the candidate's work or reflect his perceptions of art and life. The balance of the thesis describes the candidate's working process in creating the work, and the installation at VCU's Anderson Gallery.
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Lamb, Justin. „Escape Artist“. ScholarWorks@UNO, 2019. https://scholarworks.uno.edu/td/2621.

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This poetry manuscript explores themes of family and addiction, education and New Orleans, and fear and escape in the span of three parts. Its preface examines the poet’s background and influences, his relationship with performance and humor, and the levity he hopes to create in his work.
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Ladbon, Halima. „Artist Statement“. CSUSB ScholarWorks, 2019. https://scholarworks.lib.csusb.edu/etd/916.

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Calvert, Robyne Erica. „Fashioning the artist : artistic dress in Victorian Britain 1848-1900“. Thesis, University of Glasgow, 2012. http://theses.gla.ac.uk/3279/.

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My research comprises a study focused on Artistic Dress circa 1848-1900, presenting a roughly chronological survey that seeks to further our knowledge on its development, varied manifestations, and influence, both during its time and on subsequent fashion trends. While Artistic Dress is a category that is acknowledged in the current literature on fashion history, it has had limited and at times conflicting treatment. It is most often employed to describe sartorial codes in which significant arts practitioners and patrons—particularly those associated with Pre-Raphaelitism, the Arts and Crafts Movement, Aestheticism, and Art Nouveau—wore (and at times designed and promoted) clothes that were frequently labelled in contemporary literature as ‘artistic’ or ‘aesthetic’. These descriptors designated such clothing to be of a unique and creative calibre, but also outside the norm. As such, it has been a subject of interest for art and fashion historians, but usually only approached marginally within the scope of larger studies on related artistic movements, or within studies of larger fashion histories on nineteenth century dress and/or Dress Reform. This thesis offers a closer examination of Artistic Dress than has previously been undertaken. The methodology for this research was to compile a history of the phenomenon of Artistic Dress derived from relevant primary source material, including (where possible) actual clothing, images (photographs and paintings), and text (correspondence, memoirs, and periodicals) related to selected ‘artistic dressers.’ Through this, I hope to identify whether there are in fact differences in the aforementioned related terms, and whether we might be able to position Artistic Dress as an umbrella term that is the most appropriate classification for the alternative sartorial trends found in artistic circles in Victorian Britain, offering a solution to this terminological quandary in dress history. It is hoped that in clarifying this term, other styles such as Aesthetic Dress and Reform Dress—and their relation to artistic practice—may be better understood. In this way, it is intended that this research will enrich the body of knowledge in the areas of both the History of Fashion, and of British Visual Culture.
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Taft, William W. Jr. „The Special Artist“. Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/english_theses/120.

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Earner, Meaghan. „Allston Artist Village“. View thesis online, 2009. http://docs.rwu.edu/archthese/13/.

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Lange, Shara K. „Guest Artist Talk“. Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/3652.

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Bücher zum Thema "Artist"

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Rodrigo, Alonso, González Valeria und Sánchez Julio, Hrsg. Arte contemporáneo argentino: Artista por artista = contemporary Argentine art : artist by artist. [Buenos Aires]: Papers Editores, 2008.

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Clive, Phillpot, und Weatherspoon Art Gallery, Hrsg. Artist/author: Contemporary artists' books. New York: Distributed Art Publishers, 1998.

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1895-, Corona Salvador, Hrsg. Corona: Torero y artista = bullfighter & artist. Santa Fe, N.M: Sunstone Press, 1989.

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Cemović, Danilo R. Artist. Beograd: Narodna knjiga Alfa, 2007.

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Guest, Harry. The artist on the artist. Exeter: Elm Bank Publications, 2000.

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Ōba, Tsugumi. Bakuman: Artist and manga artist. San Francisco: VIZ Media, 2012.

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Keene, Charles Samuel. Charles Keene: 'the artists' artist' 1823-1891. London: Christie, Manson & Woods, 1991.

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(Project), Imago Mundi, Hrsg. Zimbabwe--occupation, artist: Contemporary artists from Zimbabwe. Italy: Fabrica, 2014.

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John, Gruen. The artist observed: 28 interviews with contemporary artists. Chicago: A Cappella Books, 1991.

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Rachel, Bean, Hrsg. The artist revealed: Artists and their self-portraits. Hoo: Grange Books, 2003.

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Buchteile zum Thema "Artist"

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Ray, Mary Beth. „Artist“. In Digital Connectivity and Music Culture, 21–44. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-68291-4_2.

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Dumolyn, Jan, und Andrew Murray. „Artist“. In Keywords for Marxist Art History Today, 21–28. Göttingen: V&R unipress, 2020. http://dx.doi.org/10.14220/9783737011143.21.

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Molina del Pozo, Carlos Francisco, und Covadonga Reyes Assiego. „Artist“. In Dictionary of Statuses within EU Law, 35–40. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-00554-2_5.

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Morrow, Guy. „The artist–artist manager relationship“. In Artist Management, 86–103. New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315520896-6.

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Demidov, Nikolai. „On Artistry and the Artist“. In Nikolai Demidov, herausgegeben von Andrei Malaev-Babel und Margarita Laskina, 62–67. Milton Park, Abingdon, Oxon; New York: Routledge, 2016.: Routledge, 2016. http://dx.doi.org/10.4324/9781315621685-7.

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Kilroy, Robert. „The Artist“. In Marcel Duchamp’s Fountain, 79–88. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-69158-9_6.

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Biehl, Brigitte. „Artist Management“. In Management in der Kreativwirtschaft, 143–72. Wiesbaden: Springer Fachmedien Wiesbaden, 2020. http://dx.doi.org/10.1007/978-3-658-28817-4_7.

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Freitas, Molly J. „The Artist“. In From Subjection to Survival, 23–61. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003362579-2.

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Doshi, Marcus. „Artist/Artwork“. In Towards Good Lighting for the Stage, 29–57. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003206460-3.

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Jones, Michael L. „Artist Managers“. In The Music Industries, 77–98. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137027061_5.

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Konferenzberichte zum Thema "Artist"

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Hoang, Trong-Vu, Quang-Binh Nguyen, Duy-Nam Ly, Khanh-Duy Le, Tam Nguyen, Minh-Triet Tran und Trung-Nghia Le. „ARtVista: Gateway To Empower Anyone Into Artist“. In CHI '24: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2024. http://dx.doi.org/10.1145/3613905.3650760.

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Wolf, Katrin. „Artist Pointer“. In CHI '17: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3027063.3052544.

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Kegeleers, Marie, und Rafael Bidarra. „Story ARtist“. In 2020 IEEE International Conference on Artificial Intelligence and Virtual Reality (AIVR). IEEE, 2020. http://dx.doi.org/10.1109/aivr50618.2020.00067.

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Hmimid, Hanae, und Matthew Mosher. „Date the Artist“. In HT '20: 31st ACM Conference on Hypertext and Social Media. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3372923.3404803.

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Ascott, Roy, Donna Cox, Margaret Dolinsky, Diane Gromala, Marcos Novak, Miroslaw Rogala, Thecla Schiphorst, Diana Slattery und Victoria Vesna. „Artist Round Tables“. In ACM SIGGRAPH 2004 Art gallery. New York, New York, USA: ACM Press, 2004. http://dx.doi.org/10.1145/1185884.1185995.

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6

Faggin, Marzia. „Artist meets computer“. In Electronic Imaging '97, herausgegeben von Giordano B. Beretta und Reiner Eschbach. SPIE, 1997. http://dx.doi.org/10.1117/12.271594.

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7

Galkin, Ivan A., Grigori M. Khmyrov, Alexander V. Kozlov, Bodo W. Reinisch, Xueqin Huang, Vadym V. Paznukhov, Paul Song, John Foster, Michael Mendillo und Dieter Bilitza. „The ARTIST 5“. In RADIO SOUNDING AND PLASMA PHYSICS. AIP, 2008. http://dx.doi.org/10.1063/1.2885024.

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8

Chen, Shizhe, Bei Liu, Jianlong Fu, Ruihua Song, Qin Jin, Pingping Lin, Xiaoyu Qi, Chunting Wang und Jin Zhou. „Neural Storyboard Artist“. In MM '19: The 27th ACM International Conference on Multimedia. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3343031.3350571.

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9

Jean-Pierre, G., und Z. Said. „The artist robot: A robot drawing like a human artist“. In 2012 IEEE International Conference on Industrial Technology (ICIT 2012). IEEE, 2012. http://dx.doi.org/10.1109/icit.2012.6209985.

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von Vignau. „The Artist Authoring Tool“. In 1998 International Conference on Consumer Electronics. IEEE, 1997. http://dx.doi.org/10.1109/icce.1997.625844.

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Berichte der Organisationen zum Thema "Artist"

1

Hylander, Lance E. The Operational Artist as Creative Artist. Fort Belvoir, VA: Defense Technical Information Center, Mai 1995. http://dx.doi.org/10.21236/ada298173.

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2

Tang, Jane, Robert R. Gamache und Bodo W. Reinisch. Progress on Artist Improvements. Fort Belvoir, VA: Defense Technical Information Center, November 1988. http://dx.doi.org/10.21236/ada219799.

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3

Greer, Stephen, und Bryony White. Live Art Scotland Practitioner Directory. University of Glasgow, Januar 2022. http://dx.doi.org/10.36399/gla.pubs.265874.

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4

Pierson, Ted A. Saddam Hussein: Operational Artist or Madman? Fort Belvoir, VA: Defense Technical Information Center, Februar 1998. http://dx.doi.org/10.21236/ada348338.

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5

Fuh, Chiou S., Kong-Yee Pun und Robert M. Owens. ARTIST: A Silicon Assembler for Mesh Arrays. Fort Belvoir, VA: Defense Technical Information Center, November 1986. http://dx.doi.org/10.21236/ada184861.

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6

Galenson, David. Painting by Proxy: The Conceptual Artist as Manufacturer. Cambridge, MA: National Bureau of Economic Research, Dezember 2006. http://dx.doi.org/10.3386/w12714.

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7

Luksik, Lance J. The Operational Artist and the Air Power Palette. Fort Belvoir, VA: Defense Technical Information Center, Mai 2007. http://dx.doi.org/10.21236/ada470755.

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8

Larson, Mark E. General George S. Patton was not an Operational Artist. Fort Belvoir, VA: Defense Technical Information Center, April 2015. http://dx.doi.org/10.21236/ad1001520.

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9

Abrams, David, Ufuk Akcigit, Gokhan Oz und Jeremy Pearce. The Patent Troll: Benign Middleman or Stick-Up Artist? Cambridge, MA: National Bureau of Economic Research, März 2019. http://dx.doi.org/10.3386/w25713.

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10

Burchill, Antoinette, Mark Banks, Christina Williams, Elizabeth Hawley-Lingham und Stefano De Sabbata. It Takes a Region to Raise an Artist: Understanding the East Midlands’ Visual Arts Economy. University of Leicester, November 2019. http://dx.doi.org/10.29311/2019.06.

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