Auswahl der wissenschaftlichen Literatur zum Thema „InterDuck (Group of artists)“
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Zeitschriftenartikel zum Thema "InterDuck (Group of artists)"
Cole, Thomas B. „Group of Artists“. JAMA 307, Nr. 7 (15.02.2012): 642. http://dx.doi.org/10.1001/jama.2012.99.
Der volle Inhalt der QuelleGreen, Alison. „Citizen Artists: Group Material“. Afterall: A Journal of Art, Context and Enquiry 26 (Januar 2011): 17–25. http://dx.doi.org/10.1086/659292.
Der volle Inhalt der QuelleSturken, Marita. „Women Artists’ Group Fights Discrimination“. Afterimage 25, Nr. 6 (Mai 1998): 5. http://dx.doi.org/10.1525/aft.1998.25.6.5.
Der volle Inhalt der QuelleFowler, Joan. „Women Artists Action Group Seminar“. Circa, Nr. 41 (1988): 26. http://dx.doi.org/10.2307/25557339.
Der volle Inhalt der QuelleCummins, Pauline. „The women artists action group“. Women's Studies International Forum 11, Nr. 4 (Januar 1988): 403–4. http://dx.doi.org/10.1016/0277-5395(88)90093-3.
Der volle Inhalt der QuelleRawstrone, Annette. „We've explored…artists“. Nursery World 2024, Nr. 2 (02.02.2024): 28–29. http://dx.doi.org/10.12968/nuwa.2024.2.28.
Der volle Inhalt der QuelleButler, Allison. „Earthworks: Visual Artists for the Earth Group“. Leonardo 20, Nr. 2 (1987): 205. http://dx.doi.org/10.2307/1578353.
Der volle Inhalt der QuelleNelson, Glen. „Mormon Artists Group: Adventures in Art Making“. Dialogue: A Journal of Mormon Thought 39, Nr. 3 (01.10.2006): 115–24. http://dx.doi.org/10.2307/45227285.
Der volle Inhalt der QuelleZaynutdinova, Zukhra. „ACTIVITY OF THE GROUP OF ARTISTS "5 + 1" IN CONCEPTUAL ART“. CURRENT RESEARCH JOURNAL OF HISTORY 02, Nr. 12 (01.12.2021): 6–12. http://dx.doi.org/10.37547/history-crjh-02-12-02.
Der volle Inhalt der QuelleRussell, Will G., und Michelle Hegmon. „Identifying Mimbres Artists“. Advances in Archaeological Practice 3, Nr. 4 (November 2015): 358–77. http://dx.doi.org/10.7183/2326-3768.3.4.358.
Der volle Inhalt der QuelleDissertationen zum Thema "InterDuck (Group of artists)"
Apte, Savita. „Unchallenged dichotomies : modernism and the Progressive Group in India“. Thesis, SOAS, University of London, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.504469.
Der volle Inhalt der QuelleDuran, Adrian R. „Il Fronte Nuovo delle Arti realism and abstraction in Italian painting at the dawn of the Cold War, 1944--1950 /“. Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file 0.87 Mb., p, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3220804.
Der volle Inhalt der QuelleThorpe, Josh. „Here hear my recent compositions in a context of philosophy and western 20th century experimental art /“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ59209.pdf.
Der volle Inhalt der QuelleRoza, Alexandra M. „Towards a modern Canadian art 1910-1936 : the Group of Seven, A.J.M. Smith and F.R. Scott“. Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=20178.
Der volle Inhalt der QuelleCass, Jeremy Leeds. „FASHIONING AFROCUBA: FERNANDO ORTIZ AND THE ADVENT OF AFROCUBAN STUDIES, 1906-1957“. Lexington, Ky. : [University of Kentucky Libraries], 2004. http://lib.uky.edu/ETD/ukyhpst2004d00216/cassdissertation.pdf.
Der volle Inhalt der QuelleTitle from document title page (viewed Jan. 7, 2005). Document formatted into pages; contains v, 253 p. Includes abstract and vita. Includes bibliographical references (p. 236-250).
Borders, Elizabeth Furlong. „Working in an Artist Collective in Portland Oregon: The artistic benefits of cooperation and place in an underground art world“. PDXScholar, 2011. https://pdxscholar.library.pdx.edu/open_access_etds/188.
Der volle Inhalt der QuelleStokes, Justine Frances. „We're Changing the Way We Do Business: A Critical Analysis of the Dixie Chicks and the Country Music Industry“. Oxford, Ohio : Miami University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1228361434.
Der volle Inhalt der QuelleDessy, Clément. „Les écrivains devant le défi nabi: positions, pratiques d'écriture et influences“. Doctoral thesis, Universite Libre de Bruxelles, 2011. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209795.
Der volle Inhalt der QuelleOutre ces considérations historiques, le rapprochement souhaité entre les deux groupes fut tel que la production littéraire ne put qu’être influencée par les théories des Nabis. La tendance "formaliste" représentée par ce groupe pictural a souvent conduit les chercheurs à prendre acte de l'autonomie tant du littéraire que du pictural dans les échanges entre Nabis et écrivains. Les influences sont cependant nombreuses de la peinture vers la littérature. Il est toutefois nécessaire de prendre en compte des écrivains oubliés par l'histoire littéraire, tels Romain Coolus, Gabriel Trarieux ou Louis Lormel, pour percevoir les effets de cette influence picturale. La reprise d'un dispositif de couleurs, exaltées ou déformées, le jeu poétique sur le thème de la ligne ou de l'arabesque fondent une recherche d'effet visuel dans l'écriture qui entend renouveler les images poétiques. Ce constat entre en résonance avec la rénovation picturale revendiquée par les Nabis. Des esthétiques communes entre peintres et écrivains, tournant autour des notions de synthèse, simplicité, de la référence à l'enfance ou à la fantaisie humoristique rassemblent Nabis et poètes qui les soutiennent dans une communauté d'initiés à l'art nouveau.
Doctorat en Langues et lettres
info:eu-repo/semantics/nonPublished
Goldman, Noémie. „Un Monde pour les XX: Octave Maus et le groupe des XX :analyse d'un cercle artistique dans une perspective sociale, économique et politique“. Doctoral thesis, Universite Libre de Bruxelles, 2012. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209691.
Der volle Inhalt der QuelleNous avons ainsi voulu replacer le groupe des XX dans son contexte économique, politique et social. La diversification des approches et des sources était donc un aspect essentiel de nos recherches. Plusieurs voies d’approche ont été empruntées, telles que l’histoire culturelle, la sociologie de l’art, l’histoire du marché de l’art, l’analyse politique ainsi que l’étude de la visual culture.
Dans un premier temps, nous analysons l’émergence de la nouvelle scène artistique construite autour du groupe des XX. Nous débutons par une analyse plus monographique du parcours de Maus afin de définir les qualités essentielles de l’animateur d’art qu’il incarne, ainsi que son rôle dans la reconfiguration du milieu culturel. Ensuite, notre étude se concentre sur la mobilisation d’un public autour des salons et la mise en place d’un nouveau marché de l’art aux XX.
Dans un second temps, notre étude se penche sur les œuvres créées par les XX et sélectionnées par le public d’amateurs fidèles au groupe. Nous éclairons cette production artistique en y décelant les influences des questionnements et des prises de position sociales et politiques du public des XX, défini précédemment. L’analyse iconographique et stylistique des œuvres s’accompagne d’un travail sur ce milieu culturel, et particulièrement sur ses positions face aux débats sociaux de l’époque. Cette étude aboutit, d’une part, à une description approfondie du public des XX, et, d’autre part, à une meilleure compréhension de l’originalité de la production esthétique des artistes du groupe. /
This PhD thesis concentrates on the mechanisms by which the artistic world in Brussels was reorganized at the end of the 19th century. The research focuses on the places, institutions, publics, art markets and aesthetic developments that characterized the new artistic scene constructed around the “Salon des XX”. The purpose of this study is to demonstrate that this artistic circle, led by Octave Maus, produced an art influenced by social, political and economic issues. Another aim has been to analyze the public that defended the artists by studying its social, cultural and generational nature.
This thesis, which is divided into two parts, for the first time explores the circle of the XX in its economic, political and social environment. The diversification of sources and scientific methods was therefore an essential aspect of the research. Different methods were applied such as, for example, the cultural history, the sociology of art, the history of the art market, political sciences and the visual culture.
The first part of this study is about the emergence of a new artistic scene founded around the “Groupe des XX”. The first objective was to investigate the personal and professional path followed by Octave Maus, the manager of the XX, who played a major role in the evolution of the cultural world. Subsequently the research focuses on the mobilization of a particular public and the creation of a new art market around the XX’s exhibitions.
The second part of this thesis considers the works of art created by the artists of the “Groupe des XX” and chosen by the public for private collections. New light is shed on this artistic production by the study of the social and political position of the XX’s public, considered as a social group. Hence the iconographic and stylistic analysis of the works goes together with a study of the XX’s milieu, and in particular with its political action. The present thesis, and the method that aims to study the works in parallel with the public’s social nature, lead to a better understanding of the cultural milieu and, at the same time, of the originality of the XX’s artistic creation.
Doctorat en Histoire, art et archéologie
info:eu-repo/semantics/nonPublished
McBride, Margaret. „Changing the art culture of Newcastle: the contribution of the Low Show Group of artists“. Thesis, 2010. http://hdl.handle.net/1959.13/928250.
Der volle Inhalt der QuelleBeginning in 1961, the Low Show Group was an active collective of women artists, exhibiting in Newcastle. The group members were Norma Allen, Mary Beeston, Betty Cutcher (Beadle), Elizabeth Martin, Lillian Sutherland and Rae Richards. Madeleine Scott Jones and Lovoni Webb also exhibited in later Low Show Group exhibitions. These artists continued to work independently and Richards is still making and exhibiting art. This study examines the context in which the group was formed and how this impacted on their decision to form a collective. Their contribution to art and craft, art education and the cultural life of Newcastle is documented through their exhibitions and careers. The theories of Howard Becker regarding art as a collective action, is used as a framework to examine the success of the Low Show group. Through a discussion of shared and individual careers as practitioners, their community service and their role as teachers, their influence is shown on the artistic practices of their students and colleagues and on the art world of their time. Newcastle’s background as a convict settlement and an industrial centre had developed a working class culture with a strong masculine influence. While some individual women artists were able to develop a career in fine arts, there was a long battle to establish a city art gallery and in 1961 there were no commercial galleries. The formation of the Low Show Group is shown to be as much about the society in which they lived as their artistic ambitions. The development of the Newcastle Technical Art School, and the formation of the Newcastle University College, was identified as the catalyst for the initial flowering of fine art. The experience of the Low Show artists first as students of this school, and in some cases as teachers, was the impetus for their desire to develop careers as professional artists. This evaluation of their contribution to the fine arts indicates how the contribution of this regional group of artists was important in paving the way for the present growth and a promising future of the fine arts in Newcastle.
Bücher zum Thema "InterDuck (Group of artists)"
artists), InterDuck (Group of. Art of the Duckomenta®. 2. Aufl. Mainz: Nünnerich-Asmus Verlag & Media GmbH, 2015.
Den vollen Inhalt der Quelle findenTony, Bradshaw, Bloomsbury Workshop und Sherborne House (Sherborne, Dorset, England), Hrsg. The Bloomsbury group artists. Sherborne: Sherborne House, 2002.
Den vollen Inhalt der Quelle findenDingwerth, Shaun Thomas. The Richmond Group artists. Bloomington, Indiana: Indiana University Press, 2014.
Den vollen Inhalt der Quelle findenGallery, Delhi Art, Hrsg. Continuum: Progressive artists' group. New Delhi: Delhi Art Gallery, 2011.
Den vollen Inhalt der Quelle findenAl-ldrus, S. Jamal. Prologue: A group exhibition by Intuitive Art Group. Herausgegeben von Artemis Art und Balai Seni Visual Negara. Kuala Lumpur: Balai Seni Visual Negara, 2013.
Den vollen Inhalt der Quelle findenZaini, Syahrul Niza Ahmad. Destiny: Young group show. Kuala Lumpur: Balai Seni Visual Negara, 2013.
Den vollen Inhalt der Quelle findenGolovanova, Olga. Group Art or Death. Moscow: State Museum of Contemporary art of the Russian Academy of Fine Arts, 2009.
Den vollen Inhalt der Quelle findenGillian, Naylor, Hrsg. Bloomsbury: The artists and designers bythemselves. London: Macdonald/Orbis, 1989.
Den vollen Inhalt der Quelle findenGallery, Delhi Art, Hrsg. Mumbai modern: Progressive artists' group, 1947-2013. New Delhi: Delhi Art Gallery, 2013.
Den vollen Inhalt der Quelle findenInternational, Ora. Artists 8: Future Legacies : The ORA group of Eight Safed artists. [S.l.]: ORA International, 1990.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "InterDuck (Group of artists)"
Clarke, Paul. „Performing Art History: Non-Linear, Synchronous and Syncopated Times in Performance Re-Enactment Society’s Group Show (Arnolfini, Bristol 2012)“. In Artists in the Archive, 116–42. Abingdon, Oxon; New York: Routledge,: Routledge, 2018. http://dx.doi.org/10.4324/9781315680972-13.
Der volle Inhalt der QuelleKiliszek, Joanna. „Living Simulacrum“. In Cultural Inquiry, 219–29. Berlin: ICI Berlin Press, 2022. http://dx.doi.org/10.37050/ci-21_22.
Der volle Inhalt der QuelleMazzanti, Anna. „Operazione Arcevia. Existential Community. The Reality of the Experience and the Utopia of the Vision“. In Springer Series in Design and Innovation, 569–83. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-49811-4_54.
Der volle Inhalt der QuelleCangiano, Serena, Davide Fornari und Azalea Seratoni. „Re-search, Re-enactment, Re-design, Re-programmed Art“. In Cultural Inquiry, 141–50. Berlin: ICI Berlin Press, 2022. http://dx.doi.org/10.37050/ci-21_15.
Der volle Inhalt der QuelleStroeken, Koen. „Chapter Twelve: Street Cred“. In Simplex Society, 253–61. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-41115-1_14.
Der volle Inhalt der Quelle„Ottoline Morrell: Artists Revels“. In The Bloomsbury Group, herausgegeben von S. P. Rosenbaum, 312–16. Toronto: University of Toronto Press, 1995. http://dx.doi.org/10.3138/9781487573768-057.
Der volle Inhalt der Quelle„The Black Artists’ Group“. In Flyboy 2, 50–55. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822373995-007.
Der volle Inhalt der Quelle„The Black Artists’ Group“. In Flyboy 2, 50–55. Duke University Press, 2016. http://dx.doi.org/10.1215/9780822373995-014.
Der volle Inhalt der Quelle„Problems of Deranged Minds, Artists, and Psychiatrists“. In The Cybernetics Group. The MIT Press, 1991. http://dx.doi.org/10.7551/mitpress/2260.003.0008.
Der volle Inhalt der Quelle„The Collective Impossible: Erfurt’s Women Artists Group“. In Parallel Public. The MIT Press, 2022. http://dx.doi.org/10.7551/mitpress/12748.003.0008.
Der volle Inhalt der QuelleKonferenzberichte zum Thema "InterDuck (Group of artists)"
Reiser, Susan, und Phill Conrad. „A processing primer for artists“. In SIGGRAPH '17: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3084863.3107579.
Der volle Inhalt der Quelle„Session details: SIGGRAPH Core: HDRi for artists“. In SIGGRAPH '08: Special Interest Group on Computer Graphics and Interactive Techniques Conference, herausgegeben von Kirt Witte, Christian Bloch, Hilmar Koch, Zap Andersson und Gary M. Davis. New York, NY, USA: ACM, 2008. http://dx.doi.org/10.1145/3260713.
Der volle Inhalt der QuelleMokhov, Serguei A., Miao Song, Sudhir P. Mudur und Peter Grogono. „Dataflow VFX Programming and Processing for Artists and OpenISS“. In SIGGRAPH '20: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3388763.3407760.
Der volle Inhalt der QuelleEales, R. T. Jim, und Dharani Perera. „Creativity Support: Insights from the Practices of Digital-Atomic Artists“. In Proceedings of HCI 2007 The 21st British HCI Group Annual Conference University of Lancaster, UK. BCS Learning & Development, 2007. http://dx.doi.org/10.14236/ewic/hci2007.3.
Der volle Inhalt der QuelleDias, Mariana, Pedro Coelho, Rui Figueiredo, Rita Carvalho, Veronica Orvalho und Alexis Roche. „Creating Infinite Characters From a Single Template: How Automation May Give Super Powers to 3D Artists“. In SIGGRAPH '24: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2024. http://dx.doi.org/10.1145/3641233.3664339.
Der volle Inhalt der QuelleKashina, M. A. „BEST PRACTICES OF CREATIVE INDUSTRIES: SUCCESS FACTORS OF THE SOUTH KOREAN BOY BAND BTS IN RUSSIA (BASED ON THE MATERIALS OF A SOCIOLOGICAL STUDY)“. In CONVERSION PROBLEMS AND REGULATION OF REGIONAL SOCIO-ECONOMIC SYSTEMS. INSTITUTE OF PROBLEMS OF REGIONAL ECONOMICS OF THE RUSSIAN ACADEMY OF SCIENCES, 2023. http://dx.doi.org/10.52897/978-5-7310-6198-8-2023-52-37-51.
Der volle Inhalt der Quelle„Session details: Professional Development and Education: Know your rights: a legal primer for software developers, artists and content creators“. In SIGGRAPH '08: Special Interest Group on Computer Graphics and Interactive Techniques Conference, herausgegeben von Gil Irizarry, Gregory P. Silberman und Neer Gupta. New York, NY, USA: ACM, 2008. http://dx.doi.org/10.1145/3260717.
Der volle Inhalt der QuelleLord, Francois. „An OpenUSD Production Pipeline with Very Little Coding: Empowering 3D artists with a parallel workflow using off-the-shelf software“. In SIGGRAPH '24: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2024. http://dx.doi.org/10.1145/3641233.3664307.
Der volle Inhalt der QuelleForrest, Brent James. „The Time Filter System: Advanced Time Manipulation for Animators and Effects Artists: How I Learned to Stop Worrying and Love Matrix Math“. In SIGGRAPH '23: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2023. http://dx.doi.org/10.1145/3587421.3595412.
Der volle Inhalt der QuelleFrémontier-Murphy, Camille. „At the Sources of an Artistic Mutation towards Science: the First Years of the Journal Leonardo (1968-1981) as a Forum for the Pioneers of Digital Art“. In 28th International Symposium on Electronic Art. Paris: Ecole des arts decoratifs - PSL, 2024. http://dx.doi.org/10.69564/isea2023-8-short-fremontier-murphy-artistic-mutation-towards-science.
Der volle Inhalt der QuelleBerichte der Organisationen zum Thema "InterDuck (Group of artists)"
Sequeira, Dora María, Ileana Alvarado V. und Félix Angel. Young Costa Rican Artists: Nine Proposals. Inter-American Development Bank, August 2007. http://dx.doi.org/10.18235/0006438.
Der volle Inhalt der QuelleKupfer, Monica E. Perceptive Strokes: Women Artists of Panama. Inter-American Development Bank, März 2013. http://dx.doi.org/10.18235/0006215.
Der volle Inhalt der QuellePollock, Wilson. Pivot the Future Makers: Building our People and Places. Herausgegeben von Musheer O. Kamau, Sasha Baxter und Golda Kezia Lee Bruce. Inter-American Development Bank, April 2021. http://dx.doi.org/10.18235/0003188.
Der volle Inhalt der QuelleGraphics from Latin America and the Caribbean: September 10 - November 15, 2002. Inter-American Development Bank, September 2002. http://dx.doi.org/10.18235/0005919.
Der volle Inhalt der QuelleA Century of Painting in Panama. Inter-American Development Bank, November 2003. http://dx.doi.org/10.18235/0005898.
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