Thematische Bibliographien / Fountain Gallery of Art

Auswahl der wissenschaftlichen Literatur zum Thema „Fountain Gallery of Art“

Autor: Grafiati
Veröffentlicht am 25. Juli 2024

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Zeitschriftenartikel zum Thema "Fountain Gallery of Art"

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Zieliński, Jan. „Ekfraza jako pytanie o prawo do zachwytu“. Colloquia Litteraria 16, Nr. 1 (19.11.2014): 29. http://dx.doi.org/10.21697/cl.2014.1.02.

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Ekphrasis as a question about the right to enchantment The author discusses Fr. Janusz S. Pasierb’s poem spotkanie [meeting] from Zdejmowanie pieczęci [Removing the seal] volume (Warsaw, 1982). He treats the poem as an example of a double ekphrasis – a simultaneous reference to two works of art; one of them is Auguste Ottin’s large sculpture Polyphème surprenant Galatée dans les bras d’Acis (1866) composed into Marie de’ Medici’s fountain in Parisian Jardin du Luxembourg, the other Giovanni Lafranco’s painting Lucina e Norandino sorpresi dall’Orco (c. 1624) from the Borghese Gallery in Rome. The analysis, which evokes mythological, literary (Ariosto, Proust) and iconographical (Redon) contexts, leads to a conclusion about art’s mediating role; about art as ground that allows for enchantment over otherwise inaccessible forms of beauty.
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Alexander, Olga. „Art Gallery“. Frontiers: A Journal of Women Studies 43, Nr. 2 (2022): 202–7. http://dx.doi.org/10.1353/fro.2022.0020.

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Burbano, Andrés, Ernest Edmonds, Daniel Cardoso Llach, Skawennati, Nā ‘Anae Mahiki, Amy Fredeen, Dima Veryovka et al. „Art Gallery“. Leonardo 51, Nr. 4 (August 2018): 426–45. http://dx.doi.org/10.1162/leon_a_01694.

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Stradling, Bob. „Art gallery“. Critical Perspectives on Accounting 15, Nr. 4-5 (Mai 2004): 542. http://dx.doi.org/10.1016/j.cpa.2003.11.003.

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Jaiswal, Abhilasha. „ONLINE ART GALLERY“. International Journal of Research -GRANTHAALAYAH 6, Nr. 6 (30.06.2018): 403–6. http://dx.doi.org/10.29121/granthaalayah.v6.i6.2018.1386.

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An online art gallery is new concept of selling and purchasing art works, both digital prints and traditional paintings are available on online sites. Basically, it is a user interface kind of web page on which buyer and seller both gets a platform for their jobs. Online art gallery is a time, energy and money saving web site concept. By this artist also can host their works and art curator can arrange auctions for art works.
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Wolfe, Rosalee J., Jodi Giroux-Lang, Lynn Pocock und Karen Sullivan. „Student art Gallery“. ACM SIGGRAPH Computer Graphics 32, Nr. 1 (Februar 1998): 30–33. http://dx.doi.org/10.1145/279389.564624.

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Wolfe, Rosalee J., Jodi Giroux, Lynn Pocock und Karen Sullivan. „Student art gallery“. ACM SIGGRAPH Computer Graphics 32, Nr. 3 (August 1998): 32–34. http://dx.doi.org/10.1145/281278.564627.

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Bila, Vonani. „Baloyi's art gallery“. New England Review 38, Nr. 4 (2017): 11–12. http://dx.doi.org/10.1353/ner.2017.0088.

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Merkel, Jayne. „Yale Art Gallery“. Architectural Design 77, Nr. 3 (2007): 110–15. http://dx.doi.org/10.1002/ad.469.

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Brucker-Cohen, Jonah, Tine Bech, Anthony Rowe, Gaz Bushell, Liam Birtles, Chris Bennewith, Oliver Bown et al. „Data Materialities Art Gallery: Introduction and Gallery“. Leonardo 49, Nr. 4 (August 2016): 352–74. http://dx.doi.org/10.1162/leon_a_01289.

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Dissertationen zum Thema "Fountain Gallery of Art"

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Ajlani, Tarek F. „Gallery For Art“. Thesis, Virginia Tech, 2005. http://hdl.handle.net/10919/33977.

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For my thesis I explored the idea of the mask in relation to architecture. For my project I designed an art gallery located in Georgetown Washington DC which is composed of three layers: a structural layer, an environmental casing, and an outer layer. Theoretical parallels are drawn between the outer layer of the gallery and what is commonly referred to as a mask. Additionally, I explored the interaction between the layers of the gallery. The distinguishing characteristics of the building include the tri-facade mask, the unique spaces in between the gallery's layers, the glass system, the mask's ghost effect, and the floor system.
Master of Architecture
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Wolters, Erika. „A mobile art gallery“. Thesis, KTH, Arkitektur, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-223739.

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Most art galleries around the world look the same; a large white room with a few artworks placed far apart. This standard way of designing art spaces together with locating them almost exclusively in the city centers makes them both physically and culturally distant for many people.  This project aims to explore other ways of displaying art to make it accessible to more people through small architectural interventions. It is an exploration about the relation between space the body and the object. A prototype for a mobile art gallery has been built as a testing device.
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Bundalo, Mladen. „Cyber Gallery "Art Zeppelin"“. Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2011. http://www.nusl.cz/ntk/nusl-232290.

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Špirić, Dajan. „Cyber gallery "Art Zeppelin"“. Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2011. http://www.nusl.cz/ntk/nusl-232321.

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Bergman, John. „IMMERSIVE GALLERY OF DIGITAL ART“. Thesis, KTH, Arkitektur, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-223228.

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Tolley, Rebecca. „Review of Art Museum Image Gallery“. Digital Commons @ East Tennessee State University, 2006. https://dc.etsu.edu/etsu-works/5631.

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Vicens, Rebeca. „Alley-Gallery“. Thesis, Virginia Tech, 2002. http://hdl.handle.net/10919/9660.

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The site chosen for this thesis project is located in downtown Blacksburg, Virginia. It consists of a 30'­x110' infill lot and an alley running parallel to it. An initial desire to blur the boundary between the alley and the proposed building led to a study of the potential of parallel planes overlapped along the shared border. Representation of these planes in two dimensions allowed almost simultaneous perceptions of multiple spatial and geometrical configurations among them. The architectural consequences of this phenomenon became the main subject of inquiry. Exploration through silkscreen prints and model studies culminated in the design of an outdoor art gallery.
Master of Architecture
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Thomas, Catherine. „Trans, intersections of art, life and the art gallery“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ42105.pdf.

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Eekelaar, Catherine. „Art gallery-based interventions in dementia care“. Thesis, Canterbury Christ Church University, 2011. http://create.canterbury.ac.uk/10460/.

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Section A reviews whether arts-based activities for people with a dementia (PWD) have significant cognitive, social, and psychological benefits for this population. There is a variety of theoretical perspectives on dementia that encompass the biological, psychological, and social effects of the disease on the wellbeing of PWD. Visual arts may be an appropriate way of addressing some of the challenges that PWD face by providing a means of ameliorating some of their cognitive, social, and psychological difficulties. Literature from the field of arts-based activities with PWD suggests that there is no apparent theoretical conceptualisation in the area, as most studies have attempted to evaluate various art programmes with no clear rationale for expected findings; rather, they have taken a more exploratory stance. However, they indicate that arts-based activities can have social and psychological benefits by increasing confidence, enthusiasm, enjoyment, social contact, mood, quality of life, and ratings of depression. The review concludes with a rationale for why it is important to expand the current evidence base on arts-based activities for PWD. Section B: Dementia refers to a variety of diseases that are characterised by cognitive difficulties and an overall decline in daily living skills. Arts and health interventions may be particularly valuable ways of improving the lives of PWD and their family carers. This exploratory study involved six people with mild to moderate dementia and six family carers attending an arts-based intervention at a major London art gallery for three sessions over three weeks, in which they engaged in art-viewing and art-making. Using audio recordings to record PWDs’ responses, rather than standardised measures, which are often problematic with this population, the study sought to explore possible changes in cognition of PWD during the intervention, namely episodic memory and verbal fluency. Using a mixed methods design, data were collected at five points and analysed using content and thematic analyses. The findings suggested that episodic memory and verbal fluency appeared to improve during the art gallery-based intervention. This was substantiated by family carers who also reported that PWD showed increased mood, confidence and social interaction, and that they valued the shared experience and learning opportunity. Whether these changes can be attributed to the intervention is a matter for further research beyond this exploratory study. Future research is proposed to further understand the implications of these preliminary findings. Section C presents a critical appraisal of the research. Research skills that have been learned and developed over the course of the process are discussed, such as increased awareness of the benefits of working within a wider research community. There is consideration of the need to communicate clearly and sensitively with other professionals from differing backgrounds and organisations, as well as the importance of building on a coherent evidence base when designing a research project. Better organisation relating to recruitment and investigation into recording during the art-viewing sessions at the gallery are identified as aspects that would be done differently, as well as consideration of using a case study approach. Clinical consequences of the research are discussed, such as utilising a community psychology approach and involving art and creativity in therapeutic sessions. Finally, further research in the area is considered, such as by expanding the study and using robust neuropsychological measures to detect cognitive change.
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Romano, Cara L. „Gallery 66 selling the Southwest /“. Ohio : Ohio University, 2007. http://www.ohiolink.edu/etd/view.cgi?ohiou1194999497.

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Bücher zum Thema "Fountain Gallery of Art"

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Fountain Gallery of Art (Portland, Or.), Hrsg. The Fountain Gallery of Art: 25th anniversary exhibition. [Portland, Or.]: The Gallery, 1986.

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Veit, Görner, Moll Frank-Thorsten, Meyer Roland und Kestner-Gesellschaft, Hrsg. Bruce Nauman: One hundred fish fountain. Hannover: Kestnergesellschaft, 2007.

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Milner, Frank. J.M.W. Turner: Paintings in Merseyside collections : Walker Art Gallery, Sudley Art Gallery, Williamson Art Gallery, Lady Lever Art Gallery, Liverpool University Art Gallery. [Liverpool]: National Museums & Galleries on Merseyside, 1990.

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Plensa, Jaume. The personal miraculous fountain. Halifax: The Henry Moore Sculpture Trust, 1994.

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1940-, Zemans Joyce, und Ontario Association of Art Galleries., Hrsg. Art gallery handbook. [Toronto]: Ontario Association of Art Galleries, 2001.

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Levin, Mai, Jelena Tsurkan und Valeri Tsurkan. US Art Gallery. Tallinn: US Art OÜ, 2009.

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Patel, D. S. Kalanidhi Art Gallery. Vadodara: Kalanidhi Art Gallery, 2012.

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Endow, Goro. Sonata: Art gallery. Vergennes, VT: Virgo eBooks Pub., 2013.

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O'Kane, Martin. Bible, art, gallery. Sheffield, UK: Sheffield Phoenix Press, 2011.

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Ursula, Panhans-Bühler, Ohrt Roberto, Harden Paul J, Tatley Roger und Phantom Gallery (Los Angeles, Calif.), Hrsg. Phantom Gallery. Göttingen: Steidl Hauser & Wirth, 2009.

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Buchteile zum Thema "Fountain Gallery of Art"

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Kilroy, Robert. „The Art Historian“. In Marcel Duchamp’s Fountain, 151–60. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-69158-9_13.

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Kilroy, Robert. „Art History and Psychoanalysis Today“. In Marcel Duchamp’s Fountain, 15–25. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-69158-9_2.

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Pritchard, Jacki. „The art gallery“. In Hypnotherapy Scripts to Promote Children’s Wellbeing, 103–7. Abingdon, Oxon; New York, NY: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781003044147-29.

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Kilroy, Robert. „Art Historian as Psychoanalyst as Detective“. In Marcel Duchamp’s Fountain, 41–46. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-69158-9_4.

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Margenstern, Maurice. „Hyperbolic Gallery“. In Designing Beauty: The Art of Cellular Automata, 65–71. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-27270-2_8.

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Franks, Anton. „Expanding the gallery“. In Debates in Art and Design Education, 196–210. Second edition. | Abingdon, Oxon ; New York, NY : Routledge,2021.: Routledge, 2020. http://dx.doi.org/10.4324/9780429201714-12.

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Hunt, Bruce. „A Gallery of Algebraic Surfaces“. In Mathematics and Art, 237–66. Berlin, Heidelberg: Springer Berlin Heidelberg, 2002. http://dx.doi.org/10.1007/978-3-662-04909-9_26.

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Hubard, Olga. „Introduction: What Is Gallery Teaching?“ In Art Museum Education, 1–6. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1007/978-1-137-41288-1_1.

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Alekseenko, S., und D. Markovich. „Gallery of physical phenomena“. In Science and Art Symposium 2000, 127–38. Dordrecht: Springer Netherlands, 2000. http://dx.doi.org/10.1007/978-94-011-4177-2_15.

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Chandra, Anupam, und Praveen Uchil. „Art of Designing an e-Art Gallery“. In Research into Design for Communities, Volume 1, 537–46. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-3518-0_47.

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Konferenzberichte zum Thema "Fountain Gallery of Art"

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Truckenbrod, Joan, Heather Elliott, Jessica Westbrook, John Grimes, Ron Hutt, Deanna Morse, Jane Stevens und Valerie Sullivan-Fuchs. „Art gallery“. In ACM SIGGRAPH 98 Electronic art and animation catalog. New York, New York, USA: ACM Press, 1998. http://dx.doi.org/10.1145/281388.281397.

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Bureaud, Annick, Stephen A. Benton, Deanna Morse und Jane Stevens. „Art gallery“. In ACM SIGGRAPH 98 Electronic art and animation catalog. New York, New York, USA: ACM Press, 1998. http://dx.doi.org/10.1145/281388.281398.

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„D-Art Gallery“. In 2019 23rd International Conference in Information Visualization – Part II. IEEE, 2019. http://dx.doi.org/10.1109/iv-2.2019.00007.

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„D-Art Gallery“. In 2013 17th International Conference on Information Visualisation. IEEE, 2013. http://dx.doi.org/10.1109/iv.2013.92.

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„D-Art Gallery“. In 2014 18th International Conference on Information Visualisation (IV). IEEE, 2014. http://dx.doi.org/10.1109/iv.2014.82.

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„D-Art Gallery“. In 2023 27th International Conference Information Visualisation (IV). IEEE, 2023. http://dx.doi.org/10.1109/iv60283.2023.00010.

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„D-Art Gallery“. In 2021 25th International Conference Information Visualisation (IV). IEEE, 2021. http://dx.doi.org/10.1109/iv53921.2021.00010.

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Xu, Hongwei, Xu Miao, Jiarui Li, Mingming Fan, Lei Wang, Hui Zheng und Chao Wen. „Mondrian Virtual Art Gallery“. In 2018 International Conference on Virtual Reality and Visualization (ICVRV). IEEE, 2018. http://dx.doi.org/10.1109/icvrv.2018.00044.

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„D-Art Gallery 2016“. In 2016 13th International Conference on Computer Graphics, Imaging and Visualization (CGiV). IEEE, 2016. http://dx.doi.org/10.1109/cgiv.2016.8.

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„D-Art Gallery 2012“. In 2012 Ninth International Conference on Computer Graphics, Imaging and Visualization (CGIV). IEEE, 2012. http://dx.doi.org/10.1109/cgiv.2012.9.

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Berichte der Organisationen zum Thema "Fountain Gallery of Art"

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Campbell, J. R. Downtown Art Gallery Jacket. Ames: Iowa State University, Digital Repository, September 2016. http://dx.doi.org/10.31274/itaa_proceedings-180814-1585.

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Alshaibi, Omar, Victoria Armstrong, Katie Brown, Nicole Hindley, Susie Johnston, Agathe Lermant, Elizabeth Mills et al. Images of Research: An Art Gallery and Puzzle Book. Herausgegeben von Sandra Oza. University of Dundee, März 2024. http://dx.doi.org/10.20933/100001304.

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Images of Research is an annual competition that challenges researchers to capture their work in a single image, alongside a short description. This competition has been run at the University of Dundee since 2020 and represents just a handful of the research projects being carried out by postgraduate researchers. The competition celebrates our research and the many original ways it can be expressed. This collection showcases the winning entries, mixed with fun sketches and puzzles to complete.
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Mahat, Marian, Guy Morrow, Brian Long, Siew Fang Law, Amy Gullickson und Chengxin Guo. Developing an impact framework for Science Gallery Network: Final report. University of Melbourne, 2022. http://dx.doi.org/10.46580/124372.

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The aim of this project was to develop an impact framework for the Science Gallery Network (SGN). This work was commissioned by the Science Gallery International (SGI). The SGN has eight member organisations across four continents: Dublin, London, Melbourne, Bengaluru, Detroit, Rotterdam, Atlanta and Berlin. Whilst the network consistently sees unprecedented levels of accomplishment by its members, a testimony to their capacity, innovation and vision, the SGN does not have a systematic way to measure and monitor this impact. An impact framework that can assist with understanding and reporting the value of this impact will provide important recognition that the SGN has achieved what it sets out to do— bringing science, art, technology and design together to deliver world-class educational and cultural experiences for young people. This report details the robust consultation approach that was undertaken by the University of Melbourne’s project team—one that included a desktop review, focus group discussions, surveys and interviews—to ensure multiple perspectives were gathered on what could be considered a multi-faceted concept. The desktop review provided a thorough review and an environmental scan of the impact literature and its measurement. In addition, the focus group discussions and interviews provided a rich understanding of what ‘good impact’ means for the SGN and the implications of this to the measurement of impact outcomes. Five key recommendations are provided and summarised. Note that these key recommendations should be taken as a point of departure for further in-depth consultation throughout the wider SGN.
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Schacht, Kayley, Deidre Gonçalves, Aaron Schmidt und Adam Smith. A History and Analysis of the WPA Exhibit of Black Art at the Fort Huachuca Mountain View Officers’ Club, 1943–1946. Engineer Research and Development Center (U.S.), Juni 2023. http://dx.doi.org/10.21079/11681/47184.

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The 1943 art exhibition at the Mountain View Officers’ Club (MVOC), Fort Huachuca, Arizona should be considered one of the most significant events in the intersection of American art, military history, and segregation. Organizers of the event, entitled Exhibition of the Work of 37 Negro Artists, anticipated it would boost soldiers’ morale because Fort Huachuca was a predominately Black duty station during WWII. This report provides a brief history of Black art in the early 20th century, biographies of the artists showcased, and provides information (where known) about repositories that have originals or reproductions of the art today. The following is recommended: the General Services Administration (GSA) investigate the ownership of the pieces described in this report and if they are found to have been created under one of the New Deal art programs to add them to their inventory, further investigation be performed on the provenance and ownership of Lew Davis’s The Negro in America’s Wars mural, for the rehabilitation of the MVOC that the consulting parties agree upon the scope of the reproduction of the art, and request archival full reproductions of the pieces of art found in the collection of the Howard University Gallery of Art.
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Brison, Jeffrey, Sarah Smith, Elyse Bell, Antoine Devroede, Simge Erdogan, Christina Fabiani, Kyle Hammer et al. The Global Engagement of Museums in Canada. University of Western Ontario, 2021. http://dx.doi.org/10.5206/vdjm2980.

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The Global Engagement of Museums in Canada examines Canadian museum diplomacy, assessing the international activities of Canadian museums to consider the ways these institutions act as cultural diplomats on the global stage. The report presents the results of a multi-partner collaborative research project addressing the work of ten institutions, including the Art Gallery of Alberta; Aga Khan Museum; Canadian Museum of History; Canadian Museum of Immigration at Pier 21; Montreal Museum of Fine Arts; Museum of Anthropology at UBC; National Gallery of Canada; Ottawa Art Gallery; Pointe-à-Callière, Montréal Archaeology and History Complex; and the Royal Ontario Museum. Focusing on the period of 2009 to 2019, this report highlights new activities and methods within museum practice, while also grounding these within the context of developments in the last decade. Drawing on archival research, document analysis, and interviews with museum professionals, this research establishes baseline data on the global reach of Canadian museums and identifies best practices to share with the museum sector and cultural diplomacy community. Comprised of three sections, the report begins by presenting the framework for the project, explaining the logic behind the selection of institutions and the pedagogical considerations that informed our collective methodology. Second, the report provides a review of the literature in the field of cultural diplomacy, situating the research project. And third, the core of the project, are ten studies of specific institutions, drawn from the fieldwork conducted by the team. These institutional reports demonstrate the ways in which museums engage with a range of global activities and actors. They further address developing trends in the sector, while also suggesting future avenues for research. The Global Engagement of Museums in Canada is a research project led by Primary Investigators Jeffrey Brison and Sarah E.K. Smith. Funded by a Mitacs Accelerate Grant, the initiative is a collaboration between the Montreal Museum of Fine Arts and Queen’s University.
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Coombs, HC opening exhibition of contemporary Australian paintings at Art Gallery - September 1955. Reserve Bank of Australia, September 2022. http://dx.doi.org/10.47688/rba_archives_pn-002886.

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Selections from the IDB Art Collection: August 2-31, 1999. Inter-American Development Bank, August 1999. http://dx.doi.org/10.18235/0005942.

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Forty-nine sculptures, paintings, drawings and graphics from the IDB Art Collection, representative of several periods, with emphasis on the 20th century. This was the third exhibition of works from the IDB Art Collection in the Cultural Center Gallery over the past seven years; normally they are displayed inpublic areas of the IDB building.
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Parallel Realities: Five Pioneering Artists from Barbados. Inter-American Development Bank, Mai 1999. http://dx.doi.org/10.18235/0006427.

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Sixty-four pieces executed in a variety of media: sculpture, painting, pastel and pencil drawing, watercolor, linoleum and metal engraving, monotype and stencil, by two generations of Barbadian artists considered pioneers in 20th century Barbadian art: Golde White, Aileen Hamilton, Katherine Hawkins, Karl Broodhagen, and Ivan Payne; from the collections of the Barbados Gallery of Art, the Barbados Museum and Historical Society, and private collectors. Upon the exhibition¿s return to Barbados, it was reenacted at the Barbados Gallery of Art and the Barbados Museum and Historical Society in Bridgetown.
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9

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

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The exhibit unites a number of artistic expressions of the Guaraní Indians of Paraguay, from the colonial period to the present. Include 65 pieces including statuary, both sacred and secular, photographs, videos, and contemporary art. All of the art works allow for a better understanding of the Guaraní culture that transmits knowledge fundamentally through an oral tradition, but has also come to assimilate a number of influences, modifying them to their own needs. The exhibition was open at the Art Gallery of the Cultural Center of the Inter-American Development Bank on September 2005.
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10

Graphics from Latin America and the Caribbean: October 1 - 29, 2000. Inter-American Development Bank, Oktober 2000. http://dx.doi.org/10.18235/0005917.

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43 lithographs, etchings, linocuts, woodcuts, silkscreens and other works in various graphic techniques by 40 artists from the Americas were united in this exhibition presented at the art gallery of York College, in York, Pennsylvania, on occasion of the College's 2000-2201 academic year, which is dedicated to the culture of Latin America and the Caribbean. All works belong to the IDB art collection. Artists included Diego Rivera, Roberto Matta, and Carlos Mérida.
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