Auswahl der wissenschaftlichen Literatur zum Thema „Artists' House“
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Zeitschriftenartikel zum Thema "Artists' House"
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Stone, Lisa. „Playing House/Museum“. Public Historian 37, Nr. 2 (01.05.2015): 27–41. http://dx.doi.org/10.1525/tph.2015.37.2.27.
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What happens when a historic house museum is owned and operated by an art school, much of the work is done by students, and it is used as a stage for contemporary practices and experimentation? The Roger Brown Study Collection, an instructional resource of the School of the Art Institute of Chicago (SAIC), has operated as an “artists’ museum” for the SAIC community and the public since 1997. Our project has been to rewrite the rules of playing house/museum, to allow the histories of a nineteenth-century building and a twentieth-century artist to perform fully in the twenty-first century.
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Fomin, Dmitriy V. „V.M. Konashevich and the Publishing House “Academia”“. Bibliography and Bibliology, Nr. 2 (14.05.2024): 129–46. http://dx.doi.org/10.25281/2411-2305-2024-2-129-146.
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There are a number of publications dedicated to the legendary publishing house “Academia”, but its history has not been studied enough yet. In particular, it is necessary to dwell in detail on the work of artists who have created authentic masterpieces, currently recognized as examples of the art of the book. With the help of a complex of book-based, art-historical, source-based methods, the article examines editions of classical works of foreign literature, commissioned by “Academia” by the outstanding domestic graphic artist V.M. Konashevich (1888—1963). Although some of them have already been analyzed to one degree or another, a new look at the evolution of his artistic views is proposed. The purpose of the article is to trace how V.M. Konashevichʼs works relate to the general design concept of the publishing house, what role cooperation with “Academia” played in the artistʼs creative biography. The books of the 1930s, previously bypassed, are characterized in the most detail.
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Hendrix, Harald. „The early musealization of writers’ and artists’ houses through guidebooks“. Nordisk Museologi 28, Nr. 1 (27.05.2020): 8. http://dx.doi.org/10.5617/nm.7962.
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Writers’ and artists’ residences developed into museums only at the end of the eighteenth and beginning of the nineteenth centuries, when houses inhabited by Walpole, Rousseau and Petrarch as well as Canova’s birthplace were turned into tourist destinations. This shift is apparent in the guidebooks to these mansions published in the decades between 1780 and 1840. In examining such booklets, this article highlights the long-term transformations of the phenomenon of the writers’ and artists’ house, and particularly the changing interaction of curators and visitors these texts allow to identify. In order to investigate this evolution in museological communication, this essay discusses the guidebooks to Horace Walpole’s Twickenham villa (1784), Petrarch’s country house in Arquà close to Padua (1797 and 1830), the villa and gardens designed by Melchiorre Cesarotti in Selvazzano also close to Padua (1810), Jean-Jacques Rousseau’s “Les Charmettes” near Chambéry (1811) and Canova’s studio/residence/museum in Possagno (1837).
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Bloch, Maurice. „Different types of creativity on the two sides of shutters“. Creativity, Cognition and Material Culture 22, Nr. 1 (31.12.2014): 109–23. http://dx.doi.org/10.1075/pc.22.1.06blo.
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A charitable sale housed in the Paris showrooms of Christie’s displayed works created by European artists. These were painted over or on the backs of specially commissioned carved house shutters typical of the Zafimaniry region of Madagascar. The present article considers and contrasts the two types of creativity juxtaposed at the Christie’s sale. The European work stresses the artist’s individual originality and social isolation from the everyday lives of those who come to admire or buy the works. The process of the art’s production ends abruptly at the moment of exhibition and sale. In contrast, the work of the Malagasy carvers is contained within a general concern of continuing the life and growth of their families. Their art intends to harden and beautify the houses that represent the continuation of the families’ life. There is no disconnection between the carver and those who will see and use the shutters similar to that of the European artists, and there is no clear beginning or end to the process of creation similar to the point of exhibition and sale. The Malagasy carvers do not want to be different from their predecessors; they want to continue the work and lives of those they are in contact with.
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Ustinov, A. B., und I. E. Loshchilov. „Nikolai Zabolotsky and His Artists“. Studies in Theory of Literary Plot and Narratology 15, Nr. 1 (2020): 260–90. http://dx.doi.org/10.25205/2410-7883-2020-1-260-290.
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The essay reconstructs the history of Nikolai Zabolotsky’s relations with artists, starting with his debut book of poems “The Pillars,” published in February 1929 and throughout the 1930s. Zabolotsky can be considered an artist both in a broad (an artist as a creator) and in a professional sense: before “The Pillars,” he attended Pavel Filonov’s workshop, created some drawings, and designed his handwritten books using the technique of Filonov’s “analytical art.” He included some of these calligraphic manuscripts in his collection “Ararat” (1928). He also painted the cover putting in the center of the composition an image of a spread skin, borrowed from Vera Ermolaeva’s illustrations for his children’s book “Good Boots” (1928). The same year Zabolotsky was asked to prepare a collection of his poems for the “Publishing House of Writers in Leningrad.” He asked another artist Lev Yudin (1903–1941), who collaborated with Kazimir Malevich in Ginkhuk, to make a cover for “The Pillars.” However, the publishing house went with a different design, and Yudin’s cover was lost. He also worked on the design of Zabolotsky’s book “The Circus,” which he envisioned as a livre d’artiste, as well as on illustrations for a never published story “The Indians” (1929). Vera Ermolaeva (1893–1937) made her own cover for “The Pillars” a study of which is preserved in the Russian Museum. She also collaborated with Yudin on drawing a poster for the famous OBERIU performance “Three Left Hours,” held on January 24, 1928, at the Leningrad Press House. Her remarkable cover for “The Pillars” is discussed here in connection with the poems, selected by Zabolotsky for his first book. His creative collaboration with the artists found its realization in the field of children’s literature, primarily in the famous magazines “Hedgehog” and “Siskin,” published under the editorial supervision of Samuil Marshak. The publication of Zabolotsky’s “The Tale of the Crooked Man” (1933) in “Siskin” magazine is of particular interest. The poem was illuminated by Pavel Kondratiev (1902–1985), who also attended Filonov’s workshop, and depicted the poet together with his son Nikita in one of his illustrations.
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Ilhan, Ayse Cakir. „Artists participating in the 15th Istanbul biennial in Turkey“. New Trends and Issues Proceedings on Humanities and Social Sciences 5, Nr. 6 (14.09.2018): 106–13. http://dx.doi.org/10.18844/prosoc.v5i6.3846.
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The Istanbul Foundation for Culture and Arts has been organising the Istanbul Biennial since 1987. The biennial aims to create a meeting point in İstanbul in the field of visual arts between artists from diverse cultures and the audience. The 14 biennials that İKSV has organised up to now have enabled the formation of an international cultural network between local and international art circles, artists, curators and art critics by bringing together new trends in contemporary art every 2 years. Curated by the artist duo Elmgreen and Dragset, the Istanbul Biennial exhibited works by 56 artists from 32 countries which discuss the concepts of house, neighborhood and belonging under the title ‘a good neighbour’. The works of the nine Turkish artists participated in the 15th Istanbul Biennial are included in this review. A descriptive study in the screening model, the data of the report, was obtained by scanning the source.Keywords: 15th Istanbul Biennial, Turkey artists.
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Stam, Deirdre C. „Artists and art libraries“. Art Libraries Journal 20, Nr. 2 (1995): 21–24. http://dx.doi.org/10.1017/s0307472200009329.
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Asked about how artists use libraries, art librarians confirm that artists gather ideas from a wide spectrum of subjects and sources, beyond the scope of the art library; they also need images and other, specific, information which art libraries often can supply. Their approach is typically exploratory and intuitive; they are compulsive browsers, but are likely to be impatient of catalogs and only occasional users of standard references tools. They expect a lot of help from specialist librarians. Art libraries serving artists generally provide access to a wide range of images, and invariably house their collections on open stacks. Photocopying, including color copying, is an essential service, and other visual and ‘studio’ facilities may also be provided. As more and more visual and other relevant information is made available through electronic networks, art libraries can provide artists with assisted, convenient access to it.
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McGoldrick, Rosemarie. „Artist Ethics and Art’s Audience: Mus Musculus and a Dry-Roasted Peanut“. Arts 12, Nr. 4 (10.08.2023): 174. http://dx.doi.org/10.3390/arts12040174.
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The museum’s instrumentalisation of contemporary art as a visitor attraction has come to mean that any use of live animals in art now must participate in and acknowledge the politics of spectacle, which for other animals means the optics of the zoo or the circus. At the same time, established social media can now deliver mass criticism of an artwork, requiring artists to learn how to manage reputation as a matter of professional art practice. In this article, I examine art’s changing ethics by working from a dilemma I faced recently as an artist over a simple 30-s video I had made featuring a wild house mouse that I had trained between COVID-19 lockdowns to take food from my shoe. Subsequently, I decided not to exhibit, publish or broadcast that video. I argue that it is the digital—its exposure of the micro-issue, its close focus on the individual case, its onus on linguistic precision and its diligent proofing and testing of arguments large or small—that now transforms the work the artwork does. This may now push artists into a much wider range of ethical decision-making about artworks to arrive at the artist’s regular mode of reflection and evaluation via a level of hyper detail and super nuance that, historically, artists of no particular celebrity have had little or no reason to engage with before.
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Gellman, Philippe. „Blockchain: The New Art House“. ITNOW 63, Nr. 3 (16.08.2021): 18–19. http://dx.doi.org/10.1093/itnow/bwab070.
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Abstract NFTs (Non-fungible tokens) have been thrust into the spotlight as companies, people and artists seek to monetise creations, from artworks to tweets. Philippe Gellman, co-founder and CEO of Arteïa, talks to Johanna Hamilton about his creation of ‘the first Digital Catalogue Raisonné supported by blockchain’ and how cutting-edge tech is changing the art world.
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Nesterenko, Petro. „PUBLISHING SIGN OF UKRAINE OF THE SECOND HALF OF XX – BEGINNING OF XXI CENTURY: TRANSFORMATION IN TIME“. Research and methodological works of the National Academy of Visual Arts and Architecture, Nr. 28 (15.12.2019): 116–23. http://dx.doi.org/10.33838/naoma.28.2019.116-123.
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Annotation. The article analyzes the little-studied art of the Ukrainian publishing sign, which has a history of almost fifty years and is well known for its highly artistic works. An excursion into the past of the Ukrainian publishing label has been made, collecting documents scattered across various sources of reports on samples of the publishing labels, both known and in the vast majority of unknown authors, and we pay tribute to this important cultural heritage that has developed in the course of the European process. The publishing signs of the second half of XX – beginning of XXI centuries are described and their artistic features are analyzed. The art of the Ukrainian emblem, especially in the last century, has not been practically studied. Probably, the topic is considered too small to draw enough attention. Turning pages of the book, few people pay atten- tion to the publishing house, thanks to which we have the happy opportunity to hold it. The artistic decision of modern publishing signs, which often quite often has a small font character, is not striking. They are created mainly by artists, editorial staff, without paying much attention to this process. However, there are times when they turn out to be the work of talented young artists who, over time, become famous. For example, the well-known art publishing signs for the leading Kiev publishing houses "Art" (artist V. E. Perevalsky) and "Rainbow" (artist O. I. Gubarev), created at that time by young graphic artists, who are now well-known folk artists of Ukraine. However, the art of the sign is an important component of book graphics, it does not lose its relevance at a new stage of society and deserves in-depth study.
Dissertationen zum Thema "Artists' House"
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Ross, Susan Imrie. „The inner image: an examination of the life of Helen Elizabeth Martins leading to her creation The Owl House and A Camel Yard as outsider art“. Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002227.
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The Owl House is situated in the Karoo village of Nieu Bethesda, and the person responsible for its creation, Helen Elizabeth Martins (1897-1976), is South Africa's best known Outsider artist. A number of newspaper and magazine articles, television programmes, radio interviews, play, films, short stories, theses and art works have resulted directly from her work. Interest in The Owl House continues to grow, with visitors coming from all over South Africa, and various parts of the world,to visit it. The Owl House was Helen Martins' home for most of her 78 years. During the last 30 or so years of her life she devoted all her time and energy to transforming the interior of her house into a glistening fantasy world of colour and light, using crushed glass stuck to almost every surface, coloured glass pane inserts in the walls, mirrors of many sizes and shapes, and countless paraffin lamps and candles. She called her garden' A Camel Yard', and filled it with over 500 cement statues, structures and bas reliefs. All the labour involved, apart from crushing and sorting the coloured glass, was provided by at least four different men, who assisted her over the years, Johannes Hattingh, Jonas Adams, Piet van der Merwe and Koos Malgas, though Helen Martins was the inspiration and director behind it all. Through a study of Helen Martins' background and life, and their effects upon her psyche, a rigorous attempt has been made to reach some understanding of why she became a recluse, and what caused her to create this unique body of work comprising her entire domestic environment. She became increasingly asocial as her life progressed, and ultimately ended it by committing suicide in 1976. Through the universality of symbolism, the meanings of the subjects, themes and concerns which she chose to depict are studied. Then, together with some knowledge of her life and personal influences, an attempt has been made to deduce what it was that Helen Martins was trying to express and work through in her creations. This study also led to an awareness of the fact that, although each one is unique, there are many examples of Outsider Art throughout the world. Fundamentally, creators of Outsider Art remain asocial in relation to their cultural milieu and cultural context. Some other examples of Outsider Art, both in South Africa as well as in Europe and India, were visited, and are described and compared with The Owl House as well as with one another. The way in which society reacts or responds to Outsider Art and its creators is studied through the comprehensive records of one specific case which caused great controversy in Johannesburg during the 1970s. Ultimately, working alone or with assistance, it is the Outsider artist who is the driving force behind these unique works, and whose indefinable inner fire of passion alone makes it possible to bring them into being. It would seem that the fascination with Outsider Art is that through their work, creators allow others a glimpse into a different sense of reality which is both mysterious and inexplicable.
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Earner, Meaghan. „Allston Artist Village“. View thesis online, 2009. http://docs.rwu.edu/archthese/13/.
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Dubreuil, Jordan. „Strabismal existence“. View thesis online, 2009. http://docs.rwu.edu/archthese/21/.
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Oni, Oluwole Joseph. „The training of artisans for house building projects in South Western Nigeria“. Thesis, Nelson Mandela Metropolitan University, 2014. http://hdl.handle.net/10948/d1020625.
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The current shortage of artisans in the Nigerian house construction sector has constrained the productivity of the sector and exacerbated the nation‟s housing problem. The persistent neglect of the artisan training system has negatively impacted on the stock of artisans available for house construction projects. Nigeria‟s large and fast-growing population of over 140 million with an estimated growth rate of 3.2 percent has engendered increased investment in shelter provision; especially by individuals and families due to fast rising housing rentals- mainly in the urban centres. Past policies have not adequately addressed the realities of the skills crisis occasioned by inadequate and neglected apprenticeship training and poorly developed vocational education and training systems. The fallout of this is manifested in the difficulties faced by developers in sourcing suitably qualified and experienced artisans for house construction projects. In response to this challenge, an upsurge of migrant artisans and craftsmen from neighbouring West African nations like Togo, Benin Republic and Ghana to Nigeria has occurred in the recent times. They were attracted by building contracting firms to fill the gap created by inadequate artisan supply that is currently being experienced locally. This development is totally unacceptable as it exacerbates the overarching socio-economic problems in Nigeria, especially the already high unemployment rate which is estimated to be 23.9 percent. This study has consequently investigated the inadequate training of house construction artisans in South Western Nigeria; evolving interventions and developing a strategic model for improving the artisan training system to ensure an adequate and sustainable artisan supply in the house construction sector. The model incorporates best practices, rethinking strategies and integrated approaches in mitigating the identified challenges. The model is underpinned by reviewed literature and empirical findings. Quantitative surveys and interviews were utilised as the data sources. The research findings show that the factors which negatively impact on the artisan training system in the house construction sector include: the poor image of artisans in society; lack of recruitment strategies for attracting potential artisans; inadequate policy framework for training and employment; a faulty and rigid National Qualification Framework (NQF); the non-participation of employers in training; a poor funding mechanism; a weak regulatory framework and corrupt practices in training administration. Recommendations for addressing the inadequate training of artisans include education policy reforms to give priority to vocational education; a new regime of funding for vocational education and training; a review of the National Qualification Framework to integrate the vocational colleges with the university system; a reform of the regulatory framework; public re-orientation on the societal image of the artisans; adoption of a new approach of public- private partnership in artisan training; the provision of incentives schemes to attract potential artisans and the appropriation of the proposed model for an integrated approach to addressing the challenges.
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Santos, Celso Francisco dos. „A arquitectura do Mosteiro de S. Salvador de Grijó 1574-1636-obras e artistas“. Master's thesis, Instituições portuguesas -- UNL-Universidade Nova de Lisboa -- FCSH-Faculdade de Ciências Sociais e Humanas, 1988. http://dited.bn.pt:80/29714.
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Oliveira, Giceli Portela Cunico de. „A casa Bettega de Vilanova Artigas: desenhos e conceitos“. Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/16/16134/tde-29032010-095642/.
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A Casa Bettega, projetada em 1949 para um médico e sua família em Curitiba, é pouco citada em publicações e nos causa estranheza por nunca ter sido comentada por seu autor. O caixote modernista em concreto e vidro ultrapassou as barreiras do tempo. Não foi demolida, como as outras seis na terra natal de Artigas; seu desenho, seis décadas depois, ainda faz valer o discurso do jovem arquiteto comunista, traduz seus discursos e inquietudes teóricas, ao mesmo tempo em que revela o domínio sobre técnica daquela época, sempre somados às gentilezas que o arquiteto propunha nas moradas que construía, e, neste caso, um sopro do conhecimento do jeito de morar no Paraná. Materiais simples e regionais, de execução precisa, permanecem íntegros conservando a original magia de luz e cores. A Casa que nasceu no período burguês da cidade, mesmo momento em que Artigas projetava sua segunda casa em São Paulo. Um grande experimento que deu certo; podemos reconhecer facilmente algumas sementes lançadas ao futuro, que se transformaram em paradigmas de uma arquitetura, nem curitibana, nem paulista, mas brasileira. A Casa Bettega, restaurada em 2004, é objeto deste estudo. Como procedimento foi realizada uma desmontagem de seus paradigmas como um processo adequado para a elaboração das análises, estrutural e compositiva, presentes no projeto e ainda uma desmontagem de forma icônica.A House projected by Vilanova Artigas for a physician and his family in Curitiba in 1949 receives very little attention in the publications as well as being strange that it never commented on by its creator. The modernist concrete and glass box surpasses barriers of time. It was not demolished like the other six in the native land of Artigas. Its design, six decades later, still validates the discourse of the young communist architect and translates his theoretical discourses and temerity, and at the same time reveals his dominance over the technique at that time, always together with the kindnesses that the architect proposes for the homes he builds, and in this case, a whisper of knowledge of the manner of living in Paraná. Simple and regional materials that are easily executed still remain whole, conserving at any price the magic of light and color. The House that was born during a bourgeois period of the city, and at the same time, Artigas projected his second house in São Paulo. If it was a huge experiment it worked out, and we may easily see in it some seeds launched into the future that were transformed into paradigms for a type of architecture, not from Curitiba or São Paulo, but truly Brazilian. The Bettega House, restored in 2004, is the object of this study.
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Ma, Nancy. „Woman•Horse: Identifying Chinese Women Artists’ Attitudes Towards Feminism Through a Reclamation of Chinese Women’s History“. Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/16568.
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As a Chinese woman who was once oppressed, and may still be, this thesis project is my initiative to reclaim dignity for those who were oppressed and honour those who helped improve women’s status in Chinese history. Linda Nochlin asking, ‘Why have there been no great women artists?’ inspired me to question Why have there been no great Chinese feminist artists? Simultaneously, Gerda Lerner’s argument on the ‘absence of Women’s History’ motivated me to reclaim Chinese women’s history. This thesis attempts to answer my question through an exploration of women’s contributions to Chinese history. This thesis explores women’s abilities prior to their oppression in the patriarchal order of China’s past. It portrays women’s thousand-year struggle against the patriarchal backdrop, wherein Chinese women and female artists inherited the traits projected onto them. I highlight the gender inequality experienced by contemporary Chinese female artists in the global art world, and their self-identified struggle to be named as ‘feminist artist,’ revealing Chinese women are still submissive to men in ‘Post-Patriarchy.’ In my attempt to examine gender equality issues, many scholars’ and artists’ works are utilized, including Bao Jialin, Ch’ü T’ung-Tsu, Amelia Jones, Li Youning, Li Xueqin, Liang Qichao, Lu Xun, Sally E. Merry, Laura Mulvey, Elizabeth A. Sackler, Sally J. Scholz, Wang Ermin, Wong Hon-lap, Xu Hong, Yuan Ke, and Zhuangzi. The artworks of Judy Chicago, Chen Qingqing, Tao Aimin, and Yin Xiuzhen are also discussed, exploring the similarities they share with me in reclaiming women’s history through artmaking. In addition, the feminist works of Lin Tianmiao and Cui Xiuwen, as well as my own work, are examined to show how contemporary Chinese female artists reject the label of ‘feminist.’ My artwork History can be forgotten and falsified; the purpose of my artwork is to refresh and leave a lasting memory of Chinese women’s suffering and experiences of oppression. Following the flow of my research, my installation work Woman•Horse, 2014–16, mourns the souls of Chinese women lost to history. It contains ten ceramic sculptural works. Each individual piece includes a narrative that describes the lives of and challenges faced by Chinese women from the formation of the cosmos to the present day. The long white strips (signifying footbinding bandages) and red threads hanging down amidst the sculptures embody the long-term oppression of Chinese women and a trace of history. This work has been exhibited at Sydney College of the Arts in September 2016.
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Uhlin, Cecilia. „Krogen Amerika : Ett 1700-tals borgarhus förvandling till en grafisk verkstad“. Thesis, Linköpings universitet, Institutionen för kultur och kommunikation, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-91531.
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En beskrivning av ett borgarhus i trä från 1700-talet, tillika grafisk verkstad för konstnärer. Huset Krogen Amerika i Linköping är ett av de äldsta trähusen som är bevarat på sin ursprungsplats. Det sätts här in i en historisk och socialhistorisk kontext. Syftet är framförallt att beskriva hur konstnärsföreningeen " Krogen Amerika- Grafikcentrum i Östergötland" bildades och flyttade in sin verksamhet i det gamla huset. Här ges också en förklarande teori om hur föreningslivets höjdpunkt, grafikens uppsving som konstform och rivningsvågen i Sverige under 1960-1970-talet sammanstrålade och gav upphov till att flertalet konstnärdrivna föreningar bidrog till att rädda äldre byggnader från rivning. Vidare fastställs även varför just kulturaktörer är en exemplarisk grupp vad gäller bevarandet av äldre hus på sin ursprungsplats.
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Faggin, Caio Luis Mattei. „Vilanova Artigas, a casa, modelo de urbanidade“. Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/16/16138/tde-07032016-145012/.
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João Batista Vilanova Artigas (1915-1985) formou-se engenheiroarquiteto em 1937, até a década de 1960 projetou principalmente residências unifamiliares, quase sempre na cidade de São Paulo. Somente a partir de então teria a oportunidade de projetar e construir também edifícios de uso coletivo ou público como clubes, hospitais, universidades, estações, etc. As casas unifamiliares, de um ou dois pavimentos, localizadas na cidade de São Paulo, nos bairros jardim, se situam em terrenos de dimensões reduzidas e estão fortemente condicionadas pelas normas urbanísticas. Artigas fez de sua condição inicial de arquiteto de casas uma virtude e converteu o ato de projetar o habitat em um laboratório de experimentações. Acabou assim destilando um amplo repertório de soluções espaciais, construtivas e de distribuição, tornando suas residências obras emblemáticas e constituintes de um evidente discurso sobre a relação entre a casa e a cidade. Têm especial interesse, como argumento principal da dissertação, a consolidação dos paradigmas da casa e formação dos tipos, que logo seriam aplicados na produção dos projetos de dimensão coletiva e edifícios públicos, obras que passaram a dominar a pauta do arquiteto da maturidade até o final de sua produção. É também a oportunidade de refletir sobre a casa, o edifício público e suas relações com a cidade e a urbanidade que aí surge. Propõe-se o entendimento desse processo de mudança de escala e permanência de significados e valores, como um amálgama que dá unidade à obra de Artigas.João Batista Vilanova Artigas (1915-1985) graduated as an architect-engineer in 1937, designing until the 1960s mostly single-family houses in the city of São Paulo. Only thereafter did he have the opportunity to design and construct public buildings, such as clubs, hospitals, universities, stations, etc. Single-family houses, with one or two floors, located in the cite jardin areas of São Paulo, lie on limited lands and are strongly restricted by urbanistic regulation. Artigas turned his starting point as a house architect into a virtue and converted the act of designing habitats into an experimental laboratory. Consequently he ended up mixing a wide range of spatial, constructive and distribution solutions, making his residences emblematic works of art and constituents of a clear speech on the relationship between house and city. The main objective of this dissertation is the consolidation of the house paradigm and formation of types that would soon be applied on projects of collective dimensions and public buildings, works which would dominate the mature architect\'s agenda until the end of his productions. It is also the opportunity to reflect about the house, the public building and its relations with cities and the urbanity that arises. This dissertation also proposes understanding the change of scale and conservation of meanings and values as an amalgam that gives unity to Artigas production.
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Silva, Sofia Maria Estrela Conde e. „O lugar onde habita a arte. Habitar a arte que habita. Formas contemporâneas de apropriação numa residencia de artistas“. Master's thesis, Faculdade de Arquitectura de Lisboa, 2012. http://hdl.handle.net/10400.5/5435.
Der volle Inhalt der QuelleBücher zum Thema "Artists' House"
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Italy), Villa romana (Florence, und Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, Hrsg. Villa Romana - an artists' house today: An artists' house today. Bonn: Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, 2013.
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ill, Lightenstein Roy, Hrsg. Roy's house. San Francisco: Chronicle Books LLC, 2016.
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Jon, Biddulph, Hrsg. Homeworks: Artists working in a house. [Manchester: The artists], 1987.
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Marina Abramović: Cleaning the house. London: Academy Eds., 1995.
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Johan, Pijnappel, Hrsg. Marina Abramovic: Cleaning the house. London: Academy Editions, 1995.
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Styron, William. Set this house onfire. London: Black Swan, 1985.
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Castrucci, Paul, und Nadia Coën. Your house is mine. New York: Bullet, 1989.
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Gallery, Sean Kelly, Hrsg. Marina Abramović: The house with the ocean view. Milano: Charta, 2003.
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Styron, William. Set this house on fire. New York: Vintage Books, 1993.
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Gower, Iris. House of shadows. Sutton: Severn House, 2010.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Artists' House"
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Payvar, Behnoosh. „Artists’ House“. In Space, Culture, and the Youth in Iran, 1–25. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137525703_1.
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Prizzon, Tommaso. „Arte, storia e prestigio. Per un’introduzione alla ‘ritrattistica genealogica’: la serie Guadagni di Firenze“. In Studi e saggi, 31–58. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-181-5.04.
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The paper describes the interesting and widespread phenomenon of genealogic portraiture in Florence by analyzing the case of the Guadagni family and its series of portraits. The series was commissioned during the mid-Seventeenth century by senator Tommaso di Francesco and it was intended to decorate the family House behind the Nunziata thanks to the contributions of many artists. Both in terms of quantity and artistic quality, the Guadagni portrait series represents a precious testimony of this specific portraiture genre, which started during the middle of the sixteenth century and reached its climax during the following century. This genre saw its decline in the 1700s, when the aristocratic ancient families lost their importance, and their illustrious ancestors’ portraits became simple relics of a remote past.
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Koay, Kheng Lee, Michael L. Walters, Alex May, Anna Dumitriu, Bruce Christianson, Nathan Burke und Kerstin Dautenhahn. „Exploring Robot Etiquette: Refining a HRI Home Companion Scenario Based on Feedback from Two Artists Who Lived with Robots in the UH Robot House“. In Social Robotics, 290–300. Cham: Springer International Publishing, 2013. http://dx.doi.org/10.1007/978-3-319-02675-6_29.
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Engelhardt, Jeffers. „9. An Ethnomusicology of Spiritual Realities“. In Music and Spirituality, 193–208. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0403.09.
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This chapter surveys some of ethnomusicology’s attitudes toward religion and other-than-human agency in its disciplinary histories and practices. Since the early 1900s, the field has moved from positivist, comparative origins through a cultural turn and into nonsecular methodologies. This is the story of a long pivot from disentangling music and religion as secular categories toward recognizing the entanglements of sound, spiritual realities, and ethnomusicologists. Alongside its methodologically atheist or methodologically agnostic disciplines in the social sciences, mainstream ethnomusicology proceeded through the twentieth century on the basis of knowledge being limited to the human. Other-than-human agents were largely written out of ethnomusicology. Ethnomusicologists could report on research participants’ descriptions of the spiritual power and divine origins of music, but could not leverage sonic theologies or the knowledge of divine encounter in ethnomusicology so-named. In many of ethnomusicology’s histories, addressing connections between music and spiritual realities meant wielding the blunt instrument of ‘music’ on the secular oxymoron of ‘spiritual realities.’ Things have changed since the 2000s. In this chapter, I draw attention to ethnomusicology’s nonsecular turn by comparing the work of Jeff Todd Titon and Melvin Butler and offering a brief ethnography of a performance by The Campbell Brothers, sacred steel artists from the House of God Church. To contextualize this crucial turn, I emphasize its embrace of sonic theology as a theoretical tool, the ways other-than-human agency enters into musical ethnography, and the knowledge ethnomusicologists communicate through their nonsecular relationships with other-than-human deities and spiritual beings.
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„House for Two Artists“. In Tony Fretton Architects, 102–7. Birkhäuser, 2013. http://dx.doi.org/10.1515/9783034610063.102.
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Hoock, Holger. „Somerset House, 23 April 1796“. In The King’s Artists, 127–35. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780199266265.003.0006.
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Abstract On the afternoon of Saturday, 23 April 1796, some one hundred guests-foreign princes and ambassadors, ministers of the British Crown, members of both Houses of Parliament and London aldermen, bishops and noblemen, connoisseurs, collectors, scholars, and artists-filed into the Academy’s entrance hall at Somerset House and ascended the elliptical staircase to the Great Exhibition Room. Those who arrived early took the opportunity to pre view the Academy summer show undisturbed by the crowds which would throng the apartments from the following Monday. The exhibition was well worth viewing, if we trust Anna Larpent’s and Horace Walpole’s judgement, indeed, ‘the best Exhibition that had been for some time.’ Meanwhile, Messrs. Richold and Mollard of the Freemasons’ Tavern in Great Queen Street were putting the finishing touches to a lavish annual Academy banquet. Many guests, even peers of the realm, had lobbied vigorously over previous weeks to secure an invitation; others had requested to be seated next to a friend or political associate, or someone they were eager to get to know.
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„Art House or House of Exorcism? The Changing Distribution and Reception Contexts of Mario Bava’s Lisa and the Devil“. In Sleaze Artists, 144–64. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822390190-008.
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Heffernan, Kevin. „Art House or House of Exorcism? The Changing Distribution and Reception Contexts of Mario Bava’s Lisa and the Devil“. In Sleaze Artists, 144–63. Duke University Press, 2007. http://dx.doi.org/10.1215/9780822390190-007.
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„IV. The House of the Heart“. In Nuns as Artists, 137–76. University of California Press, 1997. http://dx.doi.org/10.1525/9780520917378-008.
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„15. International Artists Record Company: The Psychedelic Business Plan“. In House of Hits, 158–76. University of Texas Press, 2010. http://dx.doi.org/10.7560/719194-018.
Der volle Inhalt der QuelleKonferenzberichte zum Thema "Artists' House"
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Kendal, Maureen, Caitriona McAllister und Jacob Deakin. „Dolls’ House Artists’ Installation: A-Maze artists collective exhibition at the APT Gallery, Deptford, London, October 2023“. In Proceedings of EVA London 2024. BCS Learning & Development, 2024. http://dx.doi.org/10.14236/ewic/eva2024.33.
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Modesitt, Adam, und Carrie Norman. „OPEN HOUSE: Large-Scale Architectural Drawing as a Medium for Engaging Public Space“. In 108th Annual Meeting Proceedings. ACSA Press, 2020. http://dx.doi.org/10.35483/acsa.am.108.41.
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There exists ample precedent for artists engaging architectural subject matter in public work, often at the scale of buildings. The artist Richard Haas, for example, executed a series of large-scale murals illustrating architectural facades and interiors. [1] It is far less common however, for architects to deploy drawing as a medium for engaging public space. Since the era of Leon Battista Alberti, in which architectural labor divorced from con¬struction labor, the dissemination of drawings by architects has been primarily restricted to private commissions or internal trade publications. As Robin Evans famously noted, architects’ drawings are not a direct medium, but instruments in service of another medium to be executed by others. [2] Despite renewed attention to drawing among architects recently, architectural drawing still rarely engages the public realm directly. [3, 4, 5]
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Rolo, Elisabete, und Rafaela Costa. „Portugália publishing house and designer João da Câmara Leme“. In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1002045.
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In the history of Portuguese graphic design, the editorial design assumes an important role, especially through the covers – an object to which designers and visual artists were most often called to act. In this context, the Portugália publishing house stood out as a reference in the 50s, 60s, and 70s of the twentieth century and, concomitantly, the designer João da Câmara Leme, as he was primarily responsible for the design of the covers of this publisher. This article describes the path of the Portugália publishing house and João da Câmara Leme through a literature review. And through the collection and analysis of examples of covers he designed for Portugália, we seek to identify the main characteristics of his work.
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Morena, Sara, Barbara Messina und Carla Ferreyra. „Rediscovering tradition through representation: the vaulted house of the Amalfi Coast.“ In HERITAGE2022 International Conference on Vernacular Heritage: Culture, People and Sustainability. Valencia: Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/heritage2022.2022.14337.
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The Amalfi Coast represents one of the most fascinating examples of Mediterranean landscape with a unique cultural and natural setting, resulting from its dramatic topography and the evolution of its community. The universal value of the coast, the evolutionary process of human adaptation to its production and exchange spaces, as well as its residential settlements, is very important to preserve. In this regard, the research is focused on the interpretation of these places, and in particular on the typical medieval houses to find the main features through the representation of ancient and new designers. The observation through the drawing allows rediscovering the essential elements that distinguish and at the same time link the buildings with the Mediterranean tradition. The geographical and economic characteristics that particularized the Amalfi Coast in medieval times and the absence of terrestrial connections inevitably led to isolation towards the hinterland and an opening by sea. The owners of these artifacts were mainly merchants and, coming into contact with different cultures, brought to their territories a miscellany of traditions. Similar, these houses are made of local stone and are characterized by their vaulted roof extrados that, depending on the type, leads back to a specific historical phase. The study and analysis of the drawings over time, therefore, aims to discover the main characteristic and rediscover the historical, aesthetic, and artistic value of the vernacular architecture of Campania. These buildings have always been a source of inspiration for great artists and architects who, following the Grand Tour along the coast, have characterized their works, and therefore represent an important heritage to be known, protected, and enhanced to safeguard harmony and splendor of the Amalfi Coast.
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MARIAN, Ana. „Lion statues – the manifestation of the animalistic sculptural genre during the interwar period“. In Ştiință și educație: noi abordări și perspective. "Ion Creanga" State Pedagogical University, 2023. http://dx.doi.org/10.46727/c.v3.24-25-03-2023.p184-187.
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The lion’s appearance as an animal-king was attested in the sculpture of ancient civilizations in Ancient Egypt and Anatolia, in Ancient Greece. The image of lions is also certified in the field of heraldry and occasionally appeared in the creativity of artists of the Renaissance and Classicism. Many figures of sculptural lions are in the modern St. Petersburg. In the art of interwar Bessarabia, the most significant lion sculptures are located at the entrance to the Organ Hall of Chisinau. These lions amaze with calmness and elegance. The sculptures of these animals are also on the facade of the City hall, meaning strength and consequence; on the facades of the city boyar house Ryshkanu-Derozhinsky, denoting a high social status; on the facade of the Herts’s House, creating an exquisite atmosphere with their external decorative appearance, as well as figures of lions are on the gates of the St. Panteleimon’s Church, reminding of their greatness.
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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 about migrants and migratory experiences different from the discourses generally offered and exploited by the media and public opinion. In cultural studies, the mobility turn also influences how contemporary art reflects on the direct and indirect implications of migration. The selection of works we analysed (which mainly use the medium of documentary photography) challenges the way we understand the notions of space and time, by exploring ideas regarding the concepts of (at)home and road, which are, moreover, two of the notions that undergo most changes during migratory experiences. The artistic projects selected reconsider defining the concept of (at)home as the place where the individual builds his sense of belonging, referring only to the physical house and not just to a single house set in an immovable place, but considering multiple connotations of the idea of home. Migrants' personal narratives reveal the ways in which individuals move between multiple homes, developing attachments and reinventing their identities along the way. Considering both the international context of migration and the particular case of Romanian economic migration as a recent phenomenon with important socio-cultural implications, I sought to investigate through my own artistic practice how documentary photography can become an environment for reflection on the topic, by combining autobiographical elements and a subjective discourse added to the objective dimension.
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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, on modes of acting, on the construction and presentation of an artistic work, accompanied by a reflective text. Thus, the research is being built with a memorial that houses the reflective text and a work, consisting of an installation with photography-video-sound-writing, records of my mother's house. Along the way, I talk to researcher Priscila Arantes, from São Paulo, who writes: “expanded field photography incorporates [...] the idea of dialogue, contamination and intersections of the field of photography with other fields of language and know." I also talk to the American Rosalind Krauss, who studies three-dimensional work and its expanded field. As a personal methodology, I mentally create a garden mixed with my memories of the garden of the house where I lived, where I develop the installation and the memorial. A meditation in which there is the action of artistic making. And it is in this garden that I experiment, read, research, edit photography-video-sound-written, reflect on my life path and what touches me throughout it, and write the research texts. During classes, in practical-reflective studies, I have been building my poetics, experimenting with installations in the classroom. One of them related to the kitchen of the house where I lived. I tried, in two subjects, the coffee experience with classmates. A performance I talk to Renato Cohen about, when he says that this creative act touches the tenuous boundaries that separate life and art. Each layer of the installation is perceived in the creative process of the artwork. And, based on what I perceive in my poetics, I develop conversations with the history of art, and I have conceived texts, which I named the artist's writings. With the letters, words, sentences and reflections, I write down what I thought/think about geometry, dimensions, space, the room in the house and sharing around a dining table. The poetic layers built in the creative path are countless and, in the installation, I present traces that are in me, in the garden, in the bedroom, in the kitchen and in the backyard where I lived a life in my mother's house.
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Jankova, Liga, Andrejs Lazdins, Madara Dobele und Aina Dobele. „Topicality of crafts in the development of Jelgava old town quarter“. In 21st International Scientific Conference "Economic Science for Rural Development 2020". Latvia University of Life Sciences and Technologies. Faculty of Economics and Social Development, 2020. http://dx.doi.org/10.22616/esrd.2020.53.019.
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The development of small towns in Latvia is strongly affected by the growth of the tourism industry. New tourism products and sightseeing objects are created to develop local tourism and increase the number of visitors to cities/regions owing to municipal support. It has been found that in artisanal quarters, product sales and educational masterclasses create a new added value for tourism, thereby contributing to the sustainable development of the area. The first part of the research explained the role of crafts and artisans in urban development. The second part of the research performed a comparison of the operational patterns of current houses and centres of crafts, conducted an expert survey of administrators of the houses and centres of crafts and identified the demand for artisan products by the population and their interests in the development of the Jelgava Old Town street quarter. The research has concluded that in order for crafts to survive, national and local government support is needed for creating houses, centres, quarters and streets of crafts, improving the infrastructure for artisans to work and for tourists to visit them. Municipalities need to develop and implement a policy and a programme for craft development. Crafts have transformed into the cultural industry and in many autonomous communities, the craft competences have merged with tourism and contributed to a broad supply of products and have become important for the development of the area. Overall, the number of visitors to some Jelgava city tourism facilities increased in 2018, yet the total number of visitors decreased. This indicates that the city needs new local tourism facilities. Four operational patterns of houses and centres of crafts were identified in Latvia. Crafts as an important and supportive activity to be developed are incorporated in a number of European, national, Zemgale planning region, Jelgava city and region development strategies and programmes, thereby emphasizing the support needed for traditional artisan activities. Respondents highly rated the need for a house of crafts in the Jelgava Old Town street quarter – 45% expressed very convincing opinions, while 42% rated it as average. The main benefits in the context of craft functions pertain to the cultural and historical heritage and social value. Further research studies are needed to analyse the economic and creative/innovative functions of crafts.
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Feliz, Nerea. „Temple in a House“. In 2016 ACSA International Conference. ACSA Press, 2016. http://dx.doi.org/10.35483/acsa.intlp.2016.4.
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In 2011, 15 families of the Burmese refugee community on Buffalo’s Westside collectively purchased a vacant house in Buffalo at 349 Plymouth Ave. They wanted to convert the house to a Buddhist temple and residence for three monks. ‘Temple in a House’ is an adaptive project designed in collaboration with local architect and artist Dennis Maher (University at Buffalo), which presented a significant challenge: that of trying to reconcile a very radical change of program, use, and cultural references. Beyond the project’s unique socio-economic characteristics pertaining to Buffalo, this project has global implications. Changing world demographics, as a result of different economic and migratory dynamics, are increasingly asking designers to negotiate complex cultural, social, religious, and economic systems.
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Arruda, Lina Alves. „Revisões feministas das histórias da arte: contribuições de Linda Nochlin e Griselda Pollock“. In Encontro de História da Arte. Universidade Estadual de Campinas, 2011. http://dx.doi.org/10.20396/eha.7.2011.4089.
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Linda Nochlin inicia o artigo Why Have There Been No Great Women Artists? (1971) analisando os problemas e armadilhas da tentativa de se responder à pergunta que o intitula. Segundo a autora, trata-se de um questionamento de natureza falsa, que leva à presunção automática de que realmente não houve grandes mulheres artistas, aludindo, conseqüentemente, à idéia de que essas são incapazes de atingir a grandiosidade. Esse é um dos principais pontos de contínua incisão do texto: a desnaturalização da atribuição da condição da mulher ao sexo biológico. Alusões diretas ao útero, em fragmentos que trabalham jocosamente a crueza biológica, são recorrentes, evidenciando a preocupação de Nochlin de revogar o argumento centrado na biologia, em prol de uma análise social da condição da mulher.
Berichte der Organisationen zum Thema "Artists' House"
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Yablonskyy, Maxym. «NEW DAYS» WEEKLY AND PETRO VOLYNIAK, PUBLISHER AND AUTHOR. Ivan Franko National University of Lviv, Februar 2021. http://dx.doi.org/10.30970/vjo.2021.49.11058.
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In the article on the material of the Salzburg weekly «New Days» (1945–1947) various spheres of activity of Peter Volyniak are presented. It is noted that this edition was a business card of the publishing house of the same name and had a history of continuation: in Toronto Petro Volyniak restored the publishing house of the same name and continued the publication in the format of the universal monthly «New Days» (1950–1969). The article also presents periodicals («Latest News», «New Days», «Timpani», «Our Way») and literary, artistic and scientific collection «Steering Wheel», which were published in the Salzburg publishing house of Peter Volyniak «New Days». The purpose of the publication is to trace the path of Petro Volyniak from a writer to a literary critic, journalist and publisher. This trend is reproduced in chronological order. Peter Volyniak as a writer is informed in the article «Literary Evening of P. Volyniak» (author – M. Ch-ka). O. Satsyuk’s literary-critical article is devoted to the coverage of ideological and artistic aspects of Petro Volyniak’s collection «The Earth Calls» (Salzburg, 1947). Petro Volyniak as a literary critic is presented in an article devoted to a collection of literary tales by A. Kolomiyets (Salzburg, 1946), which was published by «New Days». Petro Volyniak as a journalist presents the essay «This is our song…». With the help of content analysis it was observed that the text is divided into two parts: the first contains the author’s reflections on the Ukrainian song, its role in the life of the Ukrainian people; in the second, main, Peter Okopny’s activity abroad is presented. The publisher Petro Volyniak in 1947 in a separate publication of the February issue of the weekly summarizes the third year of activity, providing statistics on the publication of periodicals, books, postcards, calendars, various small format materials. The analyzed material demonstrated the experience of combining creative work and commercial activity.
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Highlights from the Collection of the Art Museum of the Americas of the Organization of American States (OAS): Outstanding Works by Artists from the Spanish, English, French, and Dutch Speaking Caribbean. Inter-American Development Bank, Oktober 2007. http://dx.doi.org/10.18235/0006408.
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The Art Museum of the Americas is a unique and singular asset of the Organization of American States. The museum, inaugurated in 1976, houses the most comprehensive twentieth-century art collection from Latin America and the Caribbean on public display in Washington, DC. The OAS collection, which stands for so many nationalities, traditions, and visual languages has come to embody the goals of integration and mutual understanding long pursued by our inter-American system. The IDB, through its Cultural Center, has been a long-time supporter of the Art Museum of the Americas, and that relationship is reflected in exhibitions like this
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On with the Show!: A Celebration of the 100th Anniversary and Restoration of the Teatro Colón in Buenos Aires, Argentina. Inter-American Development Bank, August 2008. http://dx.doi.org/10.18235/0006423.
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The process of upgrading the Teatro Colón infrastructure began eight years ago with the design and unveiling of a Master Plan. Included will be the completion of several of its urban components left partially unfinished, and the restoration of the many architectural features and artistic treasures, both inside and out, while maintaining the integrity and character of the structure; this process is expected to be fully completed by 2012. The Inter-American Development Bank has been an important partner in this effort of preparing the theater to actively continue with its role as beacon of Argentine culture for at least another one hundred years, not to mention the economic and social implications a vibrant restored opera house will have for the City of Buenos Aires ¿nationally and internationally, and for the country at large. To that effect, the IDB has provided significant financing, helping the city authorities attempt and succeed in such an extraordinary undertaking, and many of the results can be seen in this exhibition.