Thematische Bibliographien / Contemporary art

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Auswahl der wissenschaftlichen Literatur zum Thema „Contemporary art“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 28. Juli 2024

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Zeitschriftenartikel zum Thema "Contemporary art"

Muraz, Özlem. „BODY AS AN ART OBJECT IN CONTEMPORARY ART“. E-journal of New World Sciences Academy 14, Nr. 2 (29.04.2019): 136–44. http://dx.doi.org/10.12739/nwsa.2019.14.2.d0232.

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Kesarwani, Sachin. „IN THE CONTEXT OF CONTEMPORARY INDIAN ART-CONTEMPORARY ART“. International Journal of Research -GRANTHAALAYAH 7, Nr. 11 (30.11.2019): 281–84. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3755.

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English: The overall development of art is part of the historical, social process. The artist establishes new dimensions through innovative experiments. In present times, not only in India but in the whole world, experimentism can be clearly marked. As change is a continuous process that exists from time to time in which the prevailing beliefs go on being accepted by generations. But a thoughtful conscious community rejects those beliefs and leads the society towards a new direction and new values. This is where change starts, as fast as the meanings of life are changing, the art is changing as fast as possible. Hindi: कला का समग्र विकास ऐतिहासिक, सामाजिक प्रक्रिया का अंग है। कलाकार नित-नवीन प्रयोगों के माध्यम से नये आयाम स्थापित करता है। वर्तमान समय में भारत ही नहीं अपितु समस्त विश्व में प्रयोगधर्मिता को स्पष्ट रूप से चिन्हित किया जा सकता है। जैसा कि परिवर्तन एक निरन्तर प्रक्रिया है जो आदिकाल से आज तक विद्यमान है जिसमें प्रचलित मान्यताएं पीढ़ियों द्वारा स्वीकृत होती हुई आगे बढ़ती है। किन्तु एक विचारशील सजग समुदाय उन मान्यताओं को अस्वीकार करते हुए एक नवीन दिशा एवं नवीन मूल्यों की ओर समाज को ले जाता है। यहीं से परिवर्तन प्रारम्भ होता है जितनी तीव्रता से जीवन के अर्थ परिवर्तित हो रहे हैं उतनी ही तीव्रता से कला में परिवर्तन हो रहा है।

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Oguibe, Olu, und Nicole Guez. „L'Art Africain Contemporain/Contemporary African Art: Guide“. African Arts 30, Nr. 1 (1997): 91. http://dx.doi.org/10.2307/3337485.

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Oh, Younjung. „Two Approaches to Discussing Japanese Contemporary Art : Japan’s Contemporary Art or the Art of Contemporary Japan“. Journal of Korean Modern & Contemporary Art History 46 (31.12.2023): 119–43. http://dx.doi.org/10.46834/jkmcah.2023.12.46.119.

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Sladkova, Hanka. „Framing Contemporary Art“. International Journal of Communication and Linguistic Studies 12, Nr. 2 (2015): 15–27. http://dx.doi.org/10.18848/2327-7882/cgp/v13i02/43649.

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Herwitz, Daniel, Stephen Bann und William Allen. „Interpreting Contemporary Art“. Journal of Aesthetics and Art Criticism 50, Nr. 3 (1992): 265. http://dx.doi.org/10.2307/431243.

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Mirfenderesky, Jamshid, Stephen Bann und William Allen. „Interpreting Contemporary Art“. Circa, Nr. 58 (1991): 39. http://dx.doi.org/10.2307/25557645.

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Belik, Eva, und Matthew Cullerne Bown. „Contemporary Russian Art“. Leonardo 23, Nr. 4 (1990): 447. http://dx.doi.org/10.2307/1575353.

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Cooper, John, Stephen Bann und Willian Allen. „Interpreting Contemporary Art“. Leonardo 24, Nr. 5 (1991): 631. http://dx.doi.org/10.2307/1575685.

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Ezra, Kate, und Sidney Littlefield Kasfir. „Contemporary African Art“. African Arts 34, Nr. 1 (2001): 11. http://dx.doi.org/10.2307/3337728.

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Dissertationen zum Thema "Contemporary art"

Fouquet, Monique. „Contemporary art/contemporary pedagogy : interrupting mastery as paradigm for art school education“. Thesis, University of British Columbia, 2007. http://hdl.handle.net/2429/31304.

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Contemporary art/contemporary pedagogy: interrupting mastery as paradigm for art school education is a narrative exploration of artistic and pedagogical practices within the specific context of post-secondary art school education in stand alone art schools as opposed to a university art department. This study considers the following three primary questions: How can art school education better reflect postmodern cultural production? What are some of the ways in which pedagogical practice disrupts the monolithic model of mastery? How can art school pedagogy be re-oriented away from an overly deterministic notion of education? Through reflexive inquiry, I offer a personal perspective on art school education, weaving together my own experiences as student, artist, teacher and administrator, and juxtaposing 'my' text against the text of three artist pedagogues, representing specific aspects of field experience. Throughout the dissertation I seek to unearth the hidden assumptions that are embedded in historically inherited ways of being and doing in relation to contemporary art. I suggest that the partitioning of the institutional space into studio disciplines also segregates knowledge, and as such, largely determines the pedagogical framework of art schools. In the face of the interdisciplinary character of contemporary practice, I question the usefulness and relevance of disciplinary pedagogues modeled around the notion of achieving mastery as a paradigm that has shaped curricular practices in art schools in the past, and largely continues to define art school education today. I propose that the three artist pedagogues in this dissertation are each contributing to creating new inquiry structures that challenge boundaries between studio disciplines, between school and not-school, and between and among places of learning. I end by suggesting, as a topic for further research, complexity science as it may offer a productive framework to re-consider art school education.
Education, Faculty of
Curriculum and Pedagogy (EDCP), Department of
Graduate

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Mokhtabad-Amrei, Seyed Abdolhossein. „Iranian contemporary art music“. Thesis, Goldsmiths College (University of London), 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.500084.

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Chalker, Melissa Grace. „Contemporary Non-objective Art“. Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/18614.

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My project, Contemporary Non-objective Art, is a practice-led investigation into the dominant narratives surrounding non-objective or abstract art, and how they can be revisited and reimagined. This project aims to challenge typical and chronological ideologies that have defined non-objective art and to demonstrate a new outlook. Particularly by demonstrating how theatricality in art can be embraced, filling the work with both irony and symbolic weight. Throughout this project I use the term “non-objective art” as a way of describing and focusing on the aesthetic and technical elements of my work and practice. I want to stress that this is a visual language of modernist painting and sculpture as a form of practice— even when it is carrying the historical values of its time. I argue that the modernist narrative has changed, and that this is an important element of contemporary reductive practices—in particular, geometric abstraction. The social and cultural narrative of modernity is now self-consciously inflected with the self-critique that led to postmodernity. This has created new contexts and interests in art practice that are no longer aligned with the reductive idealism of early 20th century non-objective or “abstract” art.1 At a time when artists are struggling to maintain sense of non-objective art, I hope to use this paper and my artwork to add strangeness and irony as a way to find new interest and vitality in non-objective art. My research illustrates a resistance to the principals and ideas of the early 20th century through the 21st century’s visual language of unconventionality.

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Meneses, Romero Mariana. „Women cooking art : hospitality and contemporary art practices“. Thesis, Goldsmiths College (University of London), 2017. http://research.gold.ac.uk/20638/.

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This thesis examines the notion of hospitality in light of contemporary food-based artistic practices created from 2000 to 2015 by female artists Sonja Alhauser, Mary Ellen Carroll, Leah Gauthier, Ana Prvacki, Alicia Rfos, Jennifer Rubel I, Miriam Si mun, and Anna Dumitriu, and the experimental food artists Sam Bompas and Harry Parr. The aim is to make sense of how food practices, art, and feminism intersect, especially in light of the gendered history of the food system, including cooking, when opened onto a philosophically developed notion of hospitality. I explore the intricacies of hosting the "other", considering the multiple levels in which the relationship between the host and the guest develops. Hospitality is examined as a continuous cycle of relationships where dynamics and discourses of power and of generosity are constantly rehearsed. I focus on four main stages within the food system: 1) the gathering of edibles; 2) the cooking process; 3) the moment when food is shared and ingested with others; and 4) the digestive process. Throughout this thesis, I consider hospitality as an open structure that sheds light on the understanding of the encounters between human and non-human species-including animal, vegetable, and microbial-in the food chain. My analysis is situated within contemporary debates of gender studies, cultural studies, food studies, and philosophy of hospitality, in particular, Jacques Derrida's ethics of the other, and the imperative that "one must eat well". Eating is discussed as the literal and metaphorical assimilation and incorporation of the other, and incorporates feminist theoretical engagements which highlight Western thought as being structured by a series of gendered dichotomies, including those of nature-culture, male-female, mind-body, object-subject. I argue that the philosophical notion of hospitality and feminist theory enable a critical approach to the food system as a continual ethical imperative for and to the other.

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Lagana, Louis. „Prehistoric Malta and contemporary art“. Thesis, Loughborough University, 2005. https://dspace.lboro.ac.uk/2134/7718.

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Malta, a small island in the middle of the Mediterranean is extremely rich in its Prehistoric archaeological heritage. Local and also foreign artists were and continue to be fascinated and influenced by prehistoric art during the course of their careers. This thesis demonstrates the ways in which contemporary artists interpret Neolithic symbolism, particularly the images of Neolithic Goddesses found in various temples on the islands. The well preserved state of the Maltese Temples and their artefacts, and their beauty, still stimulate the imagination of artists to create works of art that show not only their personal reflections, but also their 'collective' psychic qualities. My methodological approach is to employ Jungian theory and contemporary theories of Primitivism to analyse such these works of art. I explore the reasons why artists are still interested in recreating symbols of the past. My general line of argument in the thesis is that some contemporary artists have a strong desire to recapture what they see as the 'spiritual perception of nature' that seems to be lacking at the present time. Through personal and collective symbols artists can be seen to be creating a new vocabulary which might act as a healing agent to relieve society from its persisting ills. The particular facets of this work and issues arising within practices relating to Malta's Neolithic past are explored through a number of case studies, examining closely the works of some well-known artists (local and foreign), such as Neville Ferry, Eva-Gesine Wegner, Sina Farrugia, Louis, Casha, and Jean Busutil Zalcski.

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Hill, Katie. „On relocating contemporary Chinese art“. Thesis, University of Sussex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.401481.

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Owen, Evelyn. „Geographies of contemporary African art“. Thesis, Queen Mary, University of London, 2013. http://qmro.qmul.ac.uk/xmlui/handle/123456789/18143.

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This thesis explores how the art world negotiates what contemporary African art means, in the context of the international contemporary art system and in relation to the histories of Western perspectives on Africa. Using conceptual and methodological approaches drawn from cultural geography, it examines the field of contemporary African art, foregrounding the terms of negotiation framing contested geographical imaginations and ideas of Africa. The research considers curatorial practices, exhibitions, art institutions, networks and the wider art infrastructure as an arena in which geographical concepts and categories are formulated, debated and contested in relation to contemporary African art. It draws on interviews with artists, curators, gallerists, collectors and scholars, as well as ethnographic fieldwork conducted in institutions and at art events, to unpick the idea of 'contemporary African art' as a working category and conceptual frame. It reveals tensions running through the field hinging on questions of categorisation, scale and location, the geographical dimensions and implications of which are currently under-explored. The conclusions argue for the importance of geographical awareness in debates around contemporary art from Africa and its shifting position internationally, particularly in the context of globalising trends in the art world and beyond, which engender complex geographies of mobility, identity, belonging and opportunity. The thesis also highlights the relevance of debates around contemporary African art for geographers, proposing new directions in research on art within cultural geography.

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Withey, Andrew. „Contemporary, emigrant, Middle Eastern art“. Thesis, University of Sussex, 2013. http://sro.sussex.ac.uk/id/eprint/44734/.

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The thesis focuses on those artists who have emigrated from their Middle East homelands since the middle of the Twentieth Century. The first Chapter proposes that the artists form an identifiable group, through the use of common themes deriving from their heritage. The second chapter debates if Post-Colonial theories of alienation, hybridity and ‘third space' are useful concepts and tools for these artists. The last chapter discusses the different approaches to the concept of universalism, which is frequently used in the presentations of the work of these artists. Chapter One identifies the themes of calligraphy, literature, nostalgia/longing and politics which are common to the group of artists. These themes demonstrate a clear cultural memory, with each artist using one or more of these characteristics. Chapter Two questions the usefulness and relevance of Post-Colonial concepts of alienation, hybridity and ‘third spaces' in the analysis of the artists' work. The individuality and complexity of the artists, their lack of clear alienation from either or both of East and West and the absence of predictability in their output makes it difficult yo apply these concepts as analytical tools. The third chapter shows the way in which contemporary Middle Eastern art has taken over from the earlier, Western based, Orientalism. The resulting work has frequently attracted the label of Universalism but this term has different connotations for Western viewers and curators compared to the Middle Eastern artists and their patrons. The former results in differentiation, the latter claims to transcend boundaries and geographies. The Conclusion, thereafter, draws together the discussions and attempts to position Middle Eastern art within the current international art scene, rather than as an ‘other' which is outside a usually Western mainstream. The Middle East expatriates are seen as part of a growing but incomplete globalism, within which localism can co-exist.

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Tanchio, Paul Albert. „Transcultural aesthetics and contemporary art“. Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/10225.

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‘Transcultural aesthetics’, in Proceedings of the Pacific Rim Conference in Transcultural Aesthetics (1998), is a generic term used by comparative philosophers and aestheticians to denote a theoretical assessment of distinctive applied aesthetic concepts and experience of cultures. This thesis is concerned with transcultural art and transcultural aesthetics, and it uses the argument put forward by comparative philosopher and aesthetician Eliot Deutsch, in his On Truth: An Ontological Theory (1979), that its practitioners’ distinctive art forms, especially Anselm Kiefer, Imants Tillers, John Young, Gao Xingjian, Helmut Federle and Lee Ufan, all bear a consistent singular presentation of intentionality – crossing boundaries that are philosophical, material and aesthetic – one that draws its relationship of unity-in-diversity (an expression of unity without uniformity and diversity without fragmentation) to pure human experience. I will analyse these art forms creation with reference to key transcultural concepts such as ‘catharsis’ (cleansing), ‘kenosis’ (emptying) and ‘homeostasis’ (harmonising into equilibrium), as drawn from the Chinese, Indian and European aesthetics traditions (commonly known as unity traditions by Philosopher Karl Jaspers) and argue that transcultural aesthetics calls for critical theoretical reflexion on the hermeneutics of discourse and action, as well as on the ‘selves-as-agents’ hermeneutic: a cultivation of insight into one’s own approach to the one regulative ideal of inter-dialogue among multiple cultures. These three key concepts of transcultural aesthetics allow practitioners to regard a form of transcultural unity as the site of their final purpose and meaning in their art and practices. Finally, the actions of practitioners in their practices are not performed in a moment of impulse, but rather they stemmed from a concerted, unified motivation.

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Reginio, Robert, David Houston Jones und Katherine Weiss. „Samuel Beckett and Contemporary Art“. Digital Commons @ East Tennessee State University, 2017. https://www.amzn.com/3838210794/.

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This groundbreaking collection from scholars and artists on the legacy of Beckett in contemporary art provides readers with a unique view of this important writer for page, stage, and screen. The volume argues that Beckett is more than an influence on contemporary art―he is, in fact, a contemporary artist, working alongside artists across disciplines in the 1960s, 1970s, and beyond.The volume explores Beckett's formal experiments in drama, prose, and other media as contemporary, parallel revisions of modernism's theoretical presuppositions congruent with trends like minimalism and conceptual art. Containing interviews with and pieces by working artists, alongside contributions of scholars of literature and the visual arts, this collection offers an essential reassessment of Beckett's work. Perceiving Beckett's ongoing importance from the perspective of contemporary art practices, dominated by installation and conceptual strategies, it offers a completely new frame through which to read perennial Beckettian themes of impotence, failure, and penury. From Beckett's remains, as it were, contemporary artists find endless inspiration.
https://dc.etsu.edu/etsu_books/1182/thumbnail.jpg

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Bücher zum Thema "Contemporary art"

Muteba, Luntumbue Toma, Poinas Claire und Musée royal de l'Afrique centrale., Hrsg. ExitCongoMuseum: Hedendaagse kunst = art contemporain = contemporary art. Tervuren: Koninklijk Museum voor Midden-Afrika, 2001.

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(Auctioneers), Phillips New York. Contemporary art. New York: Phillips Auctioneers, 2000.

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Sotheby, Parke-Bernet, London. Contemporary art .... New York: Sotheby's, 1989.

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Galleries, inc Swann. Contemporary art. New York: Swann Galleries, 2003.

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Sotheby's (Firm). Contemporary art. London: Sotheby's, 2003.

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Sotheby's (Firm). Contemporary art. London: Sotheby's, 2001.

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Phillips Son & Neale (New York, N.Y.), Hrsg. Contemporary art. New York: Phillips, 1999.

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Sotheby, Parke-Bernet, London. Contemporary art ... . New York: Sotheby's, 1989.

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Sotheby, Parke-Bernet, London. Contemporary art .... New York: Sotheby's, 1989.

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Contemporary art. New York: Swann Galleries, 2001.

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Buchteile zum Thema "Contemporary art"

Ting Wing Yan, Vivian, und Ying Yan. „Curating contemporary art“. In Curating Art, 128–37. London: Routledge, 2021. http://dx.doi.org/10.4324/9781315686943-21.

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Birbragher-Rozencwaig, Francine. „Contemporary Cuban Art“. In Essays on 20th Century Latin American Art, 79–101. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003037507-4.

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Vogel, Sabine B. „Global Art and Contemporary Art“. In Edition Angewandte, 69–73. Vienna: Springer Vienna, 2010. http://dx.doi.org/10.1007/978-3-7091-0251-0_9.

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Hay, Penny. „Contemporary art and children's art“. In Teaching Art Creatively, 54–63. London: Routledge, 2022. http://dx.doi.org/10.4324/9781315691114-3.

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Bleicher, Steven. „Color in Fine Art“. In Contemporary Color, 185–206. 3. Aufl. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003242741-9.

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Husquinet, Jean-Pierre. „Contemporary Totemism“. In Explorations in Art and Technology, 185–90. London: Springer London, 2002. http://dx.doi.org/10.1007/978-1-4471-0197-0_20.

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Krysa, Joasia. „The politics of contemporary curating“. In Curating Art, 430–37. London: Routledge, 2021. http://dx.doi.org/10.4324/9781315686943-60.

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Potts, John. „Displacement in Contemporary Art“. In The Handbook of Displacement, 687–700. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-47178-1_47.

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Vogel, Sabine B. „Globalkunst und contemporary art“. In Edition Angewandte, 69–73. Vienna: Springer Vienna, 2010. http://dx.doi.org/10.1007/978-3-7091-0224-4_9.

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Hintjens, Helen. „Decolonising Contemporary Art? Collage+“. In The Politics of Art, Death and Refuge, 65–105. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-09891-8_3.

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Konferenzberichte zum Thema "Contemporary art"

Yang, Bingjie. „Female Art in Chinese Contemporary Art“. In 2021 International Conference on Education, Language and Art (ICELA 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220131.179.

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Partin, Laura. „�DECEPTION� IN CONTEMPORARY ART“. In 4th International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2017. Stef92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/hb61/s15.52.

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Wands, Bruce. „The Engagement of Digital Art with Contemporary Art“. In Electronic Visualisation and the Arts (EVA 2017). BCS Learning & Development, 2017. http://dx.doi.org/10.14236/ewic/eva2017.69.

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Livatino, Salvatore. „Virtual Museum of Contemporary Art“. In 17th International Conference on Artificial Reality and Telexistence (ICAT 2007). IEEE, 2007. http://dx.doi.org/10.1109/icat.2007.55.

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Chistyakova, Olga. „Postmodern Philosophy and Contemporary Art“. In 4th International Conference on Arts, Design and Contemporary Education (ICADCE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icadce-18.2018.26.

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Kabronska, Joanna. „CONTEMPORARY ART AND CIVIC ENGAGEMENT“. In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocialf2018/6.3/s12.015.

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Barchugova, Elena, und Natalia Rochegova. „Contemporary Art and the City“. In 4th International Conference on Architecture: Heritage, Traditions and Innovations (AHTI 2022). Amsterdam: Athena International Publishing B.V., 2023. http://dx.doi.org/10.55060/s.atssh.221230.050.

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Wands, Bruce. „CREATING CONTINUITY BETWEEN COMPUTER ART HISTORY AND CONTEMPORARY ART“. In CAT 2010: Ideas before their time : Connecting the past and present in computer art. BCS Learning & Development, 2010. http://dx.doi.org/10.14236/ewic/cat2010.21.

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Wee, C. J. „Coordinating Contemporary Asia in Art Exhibitions“. In International Conference on Aesthetics and the Sciences of Art. Bandung, Indonesia: Bandung Institute of Technology, 2020. http://dx.doi.org/10.51555/338678.

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Guo, Ling. „Ceramic Education in Contemporary Art Background“. In 2nd International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icadce-16.2016.185.

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Berichte der Organisationen zum Thema "Contemporary art"

Van Eck, Steve. Neighborhood Economic Impacts of Contemporary Art Centers. Portland State University Library, Januar 2000. http://dx.doi.org/10.15760/etd.6319.

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Fleming, Brian P. Hybrid Threat Concept: Contemporary War, Military Planning and the Advent of Unrestricted Operational Art. Fort Belvoir, VA: Defense Technical Information Center, Mai 2011. http://dx.doi.org/10.21236/ada545789.

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Johnson, Joann. The treatment of the concept of impersonation within the art of oral interpretation : a contemporary perspective. Portland State University Library, Januar 2000. http://dx.doi.org/10.15760/etd.5503.

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Bellwood-Howard, Imogen, Peter Taylor und Aminata Niang. How to Use Collaborative Art-Making for Dialogue and Communication. Institute of Development Studies, August 2023. http://dx.doi.org/10.19088/ids.2023.035.

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Artists have often used artworks to express emotions and thus prompt public dialogue about contemporary challenges. At the same time, it has been suggested that collaborative art-making can be used in environmental deliberation processes, where stakeholder groups discuss contentious challenges such as the effects of flooding. Policy actors have rarely been deeply involved in these processes. Our recent research showed that collaborative art could be used to develop relationships between groups, including policy actors, in deliberation processes, by creating artworks to bring concerns into the public domain.

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Moreno Mejía, Luis Alberto, und Iván Duque Márquez. Contemporary Uruguayan Artists: An Uruguayan Presence in the About Change Exhibition. Inter-American Development Bank, Februar 2012. http://dx.doi.org/10.18235/0006209.

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Contemporary Uruguayan Artists is part of About Change: Art from Latin America and the Caribbean, a project of the World Bank Art Program in cooperation with the Cultural Center of the Inter-American Development Bank and AMA | Art Museum of the Americas at the Organization of American States. The initiative comprises a series of exhibitions of art from Latin America and the Caribbean being offered in various venues in Washington during 2011-12. The exhibition is presented In honor of Uruguay and the City of Montevideo, site of the 53rd Annual Meeting of the Board of Governors of the IDB. The works selected for the exhibition offer a panorama of contemporary Uruguayan creativity. These pieces revisit history, explore memory, examine changes that have transformed culture and the environment, and rethink traditions. It includes painting, print, sculpture, mixed media, and photography, by 13 artists: Santiago Aldabalde, Ana Campanella, Muriel Cardoso, Gerardo Carella, Federico Meneses, Ernesto Rizzo, Jacqueline Lacasa, Gabriel Lema, Daniel Machado, Cecilia Mattos, Diego Velazco, Santiago Velazco, and Diego Villalba.

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Plessi, Fabrizio, Celestino Soddu und Adriano Abbado. digitalyart: An exhibition honoring Italy, Host of the 44th Annual Meeting of the Board of Governors of the Inter-American Development Bank. Inter-American Development Bank, Februar 2003. http://dx.doi.org/10.18235/0005909.

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An exhibition of technological art from Italy, featuring the seminal piece ROMA II by Venetian contemporary master Fabrizio Plessi, with digitally designed architectural projects by Celestino Soddu, and interactive images by Adriano Abbado. Held in honor of Italy and the City of Milan, host of the 44th Annual Meeting of the IDB Board of Governors, the show was organized by the IDB Cultural Center with support from the IDB Information and Communication Technology for Development Division, and cooperation from the Istituto Italiano di Cultura of Washington, D.C.

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Poloboc, Alina. Fancy Pink Goat. Intellectual Archive, Dezember 2023. http://dx.doi.org/10.32370/iaj.2998.

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"Fancy Pink Goat" is a contemporary art piece from the Fancy Collection, created in Spain in 2022. It is a vividly colorful painting dominated by pink and blue, which are the signature colors of the artist`s style. The painting features a fancy goat walking through the jungle with its elegant collar and abstract, long legs. Surrounding the Fancy Pink Goat are a variety of other unusual creatures inhabiting the jungle and keeping the goat company. The artist`s signature red high-heeled shoes are also present, adding a touch of sophistication and style to the painting. This artwork is an impressive example of the artist`s unique style, which blends elements of surrealism and abstraction to create a sense of fantasy and wonder. The overall effect is an intriguing and vibrant work of art that captures the viewer`s imagination. With its expert technique and distinctive style, "Fancy Pink Goat" is truly a gem in the Fancy Collection.

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

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The IDB Cultural Center is proud to host this exhibit honoring the Republic of Panama, host country of the IDB Annual Meeting, which will take place from March 14¿20, 2013. The exhibition highlights the history of modern and contemporary art by Panamanian women and will include paintings, photographs, sculptures, and video art from the 1920s to the present. The 22 artworks, selected by Panamanian curator Dr. Monica E. Kupfer, reveal the ways in which a varied group of female artists have experienced and represented significant geopolitical events in the nation¿s history. Their interpretations also show the position of women in Panamanian society, and their views of themselves through their own and others¿ eyes. Among the artists are: Susana Arias, Beatrix (Trixie) Briceño, Fabiola Buritica, Coqui Calderón, María Raquel Cochez, Donna Conlon, Isabel De Obaldía, Sandra Eleta, Ana Elena Garuz, Teresa Icaza, Iraida Icaza, Amelia Lyons de Alfaro, Lezlie Milson, Rachelle Mozman, Roser Muntañola de Oduber, Amalia Rossi de Jeanine, Olga Sánchez, Olga Sinclair, Victoria Suescum, Amalia Tapia, Alicia Viteri, and Emily Zhukov.

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Sweeney, Liam. Free for All: Contemporary Arts Museum Houston. Ithaka S+R, September 2018. http://dx.doi.org/10.18665/sr.308086.

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Sweeney, Liam. Free for All: Contemporary Arts Museum Houston. Ithaka S+R, September 2018. http://dx.doi.org/10.18665/sr.309177.

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