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Zeitschriftenartikel zum Thema „Kreis (Group of artists)“

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Veröffentlicht am 25. Juli 2024

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1

Poorthuis, Marcel. „The Forte-Kreis“. Religion & Theology 24, Nr. 1-2 (2017): 32–53. http://dx.doi.org/10.1163/15743012-02401003.

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Just before the outbreak of World War 1, a group of writers, artists and philosophers decided to establish a spiritual rule over Europe, the Forte Kreis. The group aimed at a reconciliation in Europe, by establishing pacifism, but also between East and West by creating a new language. Their thoughts have been documented a several archives in Europe. By bringing them together, a picture emerges of a blend of elitist naiveté and prophetic foresight. The need for a supra-national spiritual guidance seems as relevant today as it was hundred years ago.
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2

Cole, Thomas B. „Group of Artists“. JAMA 307, Nr. 7 (15.02.2012): 642. http://dx.doi.org/10.1001/jama.2012.99.

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3

Green, 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.

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4

Kreis, Heidi Nicole, Ayoola Ajani, Logan Leggett und Lynne Murphy. „Social & Emotional Impact of Group Engagement in Occupations Among Cancer Survivors“. American Journal of Occupational Therapy 77, Supplement_2 (01.07.2023): 7711510326p1. http://dx.doi.org/10.5014/ajot.2023.77s2-po326.

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Abstract Date Presented 04/21/2023 A cancer survivorship program of occupation-based group intervention is described, including the impact on participants’ levels of distress, meaning and purpose, and psychosocial impact of illness. Primary Author and Speaker: Heidi Nicole Kreis Additional Authors and Speakers: Ayoola Ajani, Logan Leggett, Lynne Murphy
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5

Sturken, Marita. „Women Artists’ Group Fights Discrimination“. Afterimage 25, Nr. 6 (Mai 1998): 5. http://dx.doi.org/10.1525/aft.1998.25.6.5.

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6

Fowler, Joan. „Women Artists Action Group Seminar“. Circa, Nr. 41 (1988): 26. http://dx.doi.org/10.2307/25557339.

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7

Cummins, 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.

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8

Rawstrone, 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.

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9

Butler, Allison. „Earthworks: Visual Artists for the Earth Group“. Leonardo 20, Nr. 2 (1987): 205. http://dx.doi.org/10.2307/1578353.

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10

Nelson, 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.

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11

Zaynutdinova, 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.

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The article examines the role and significance of the "5 + 1" group in the development of contemporary art in Uzbekistan in the context of the creativity of the group's artists. The ideas and aesthetics of paintings, installations, video art in the work of individual artists are revealed in detail.
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12

Russell, 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.

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AbstractPast researchers have identified individual styles of painting in Mimbres Black-on-white bowls, leading Steven LeBlanc to recently call for the development of quantitative methods to enable and assess such identifications. We propose such a methodology here. Through a process of pair-wise, micro-stylistic comparisons, bowls painted by a single artist or group of closely cooperating artists are analytically linked in chain-like fashion. Two bowls are attributed to the “same hands” if their similarity measure is at or above 70 percent. Similarity measures are determined by comparing minute details that reflect artistic decisions. The method takes into account diachronic development of artistic skill, subject matter diversity, and the transfer of style across generations. Results can contribute to an understanding of stylistic development, craft specialization, and the role of artists in traditional societies.
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13

Feser, Frauke. „The visiting artist researcher experiment“. Journal of Science Communication 14, Nr. 01 (31.03.2015): C02. http://dx.doi.org/10.22323/2.14010302.

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The visiting artist researcher experiment discussed here brought together visual artists and climate scientists, amongst them my research group which studies storms. The artists’ stay led to a dialogue between our diverging perspectives and an open exchange of ideas. The exchange in my research group was more interactive than I had expected. Many conversations provided insights into ideas and work flows of the artists and, eventually, a new view on our storm studies.
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14

Hanrahan, Stephanie J. „Sport Psychology and Indigenous Performing Artists“. Sport Psychologist 18, Nr. 1 (März 2004): 60–74. http://dx.doi.org/10.1123/tsp.18.1.60.

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A group of students from the Aboriginal Centre for the Performing Arts participated in a mental skills training program that focused on goal setting, self-confidence development, and team building. There were 13 two-hour sessions held over a 20-week period. The participants, cultural issues, and the basic structure of the program are described. The author’s observations regarding competition, displays of affection, collective values, and the importance of family and nature are provided. The participants qualitatively evaluated the program. Conclusions related to group process, program structure, and diversity are presented. These conclusions should be of value in terms of shaping future group mental skills training programs.
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15

Lake, Susan. „The Challenge of Preserving Modern Art: A Technical Investigation of Paints Used in Selected Works by Willem de Kooning and Jackson Pollock“. MRS Bulletin 26, Nr. 1 (Januar 2001): 56–60. http://dx.doi.org/10.1557/mrs2001.20.

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Willem de Kooning (1904–1997) and Jackson Pollock (1912–1956) are perhaps the best-known members of the abstract expressionist movement, a group of diverse artists from disparate backgrounds who radically transformed American art during the 1940s and into the 1950s. While the development and legacy of abstract expressionism remains a subject of considerable debate, what this diverse group of artists had in common was the belief that the materials, and the ways the artists applied them, are crucial to the expression of their art.
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Vašíčková, Kateřina, Andrea Mikotová und Lucie Šilerová. „Stress in Music Managers and Artists: Pilot study on Czech and Slovak Students“. Zeitschrift für Kulturmanagement 4, Nr. 1 (01.05.2018): 133–44. http://dx.doi.org/10.14361/zkmm-2018-0108.

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AbstractThe aim of the presented study was to do a pilot research on the comparison of the incidence of stress in a group of students of music management and art of music. We examined whether artists and music managers differ in the perception of the intensity of stress when playing (working) solo from the intensity when playing (working) in group. Furthermore, we focused on the most common stressors and main stress symptoms among music managers and artists. Total 63 students of music, cultural or art management (average age 28.6 years; 69.8 % were women) and 75 students of art of music (average age 26.7 years; 64 % were women) filled out an online questionnaire in the spring of 2016. The results show that while artists reported higher stress levels when playing solo, music managers reported higher stress levels when working in a group. A closer look showed that while only a few music managers (4,8 %) are intensely stressed when working in a team, a considerable group of artists (26 %) stated that they were most stressed out when playing solo. As their main work stressors artists mentioned blackouts, unpreparedness, and audience, music managers listed flaws in the human factor, time pressure and financial problems. Stress symptoms among artists are mainly physiological and short-term but at the same time intensive, while stress symptoms among music managers are rather long-term and related to psyche, and relationships with others.
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17

Winestein, Anna. „Artists at Play“. Experiment 25, Nr. 1 (30.09.2019): 328–45. http://dx.doi.org/10.1163/2211730x-12341346.

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Abstract The exhibition of Russian folk art at the Paris “Salon d’Automne” of 1913 has been generally overlooked in scholarship on folk art, overshadowed by the “All-Russian Kustar Exhibitions” and the Moscow avant-garde gallery shows of the same year. This article examines the contributions of its curator, Natalia Erenburg, and the project’s instigator, Iakov Tugendkhold, who wrote the catalogue essay and headed the committee—both of whom were artists who became critics, historians, and collectors. The article elucidates the show’s rationale and selection of exhibits, the critical response to it and its legacy. It also discusses the artistic circles of Russian Paris in which the project originated, particularly the Académie russe. Finally, it examines the project in the context of earlier efforts to present Russian folk art in Paris, and shows how it—and Russian folk art as a source and object of collecting and display—brought together artists, collectors, and scholars from the ranks of the Mir iskusstva [World of Art] group, as well as the younger avant-gardists, and allowed them to engage Parisian and European audiences with their own ideas and artworks.
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18

Stack. „Gender and Suicide Risk Among Artists: A Multivariate Analysis“. Suicide and Life-Threatening Behavior 26, Nr. 4 (Dezember 1996): 374–79. http://dx.doi.org/10.1111/j.1943-278x.1996.tb00841.x.

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Research on mental disorders among male artists has suggested that artists are at risk of suicide. However, given that men are higher in suicide risk than women, the presumed suicide risk of artists may be an artifact of sampling bias. A logistic regression analysis of data from 21 states finds that artists have a 270% higher risk of suicide than nonartists. However, after controlling for gender and sociodemographic variables, this risk level is reduced to 125%. The findings are related to both psychiatric and work‐related stress factors that may place artists at risk of suicide as an occupational group.
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19

Głaz, Stanisław. „Relationship of Personality Traits and Hope With Job Satisfaction in the Life of Polish Artists and Pedagogues“. Journal for Perspectives of Economic Political and Social Integration 28, Nr. 2 (25.01.2023): 89–120. http://dx.doi.org/10.18290/pepsi-2022-0009.

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The purpose of this paper was to show the relationship between personality traits and hope, as well as the job satisfaction in the lives of artists and pedagogues (teachers). The research was conducted among artists and pedagogues living and working in Poland. Research tools such as: Job Satisfaction (SSP) by Zalewska, Personality Inventory (NEO-FFI) by Costa and McCrae, and the Hope Scale (HS) by Snyder were used. The obtained results show that extraversion correlates significantly and positively with job satisfaction, while neuroticism – negatively – in the group of pedagogues. Agency correlates significantly and positively with job satisfaction in the group artists and pedagogues. Result of multiple regression analysis reveals that agency and pathways have a statistically significant and positive relationship with job satisfaction in the group of artists and pedagogues. Extraversion and neuroticism have a statistically significant relationship with job satisfaction in the group of pedagogues. Extraversion has a positive relationship with job satisfaction and neuroticism negative. In addition, extraversion and neuroticism have a significant impact on job satisfaction in the group of pedagogues, where the function of the mediator is fulfilled by hope.
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20

Moss, Anne Eakin, Niloofar Haeri und Narges Bajoghli. „Legacies of Protest Art in Iran“. Public Culture 36, Nr. 2 (01.05.2024): 153–79. http://dx.doi.org/10.1215/08992363-11158958.

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Abstract This article examines the art practice of a group of professors and students—who later came to be known as Group 57—at the Fine Arts College of the University of Tehran during the revolutionary period of 1978 to 1980. Through interviews with artists and art historical research, the authors describe the artists’ workshop where they produced posters against the Shah, the United States, and imperialism. Their posters drew on the bold colors, clear text, symbolic imagery, and easy reproducibility of international radical poster art and the early Russian revolutionary avant-garde. The authors recover these aesthetic and intellectual connections in the academic and professional training of the artists and in the art historical context of the posters themselves, examining the posters’ recent and more distant influences, and reinscribing the artists in the history of Iranian art and international art history. The authors also point toward connections between Group 57 and protest art in Iran today.
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Ardelt, Monika, und Lucinda Orwoll. „DOES AGE AFFECT CREATIVE PROCESS AND STYLE? A COMPARISON OF OLDER AND YOUNGER VISUAL ARTISTS“. Innovation in Aging 3, Supplement_1 (November 2019): S417—S418. http://dx.doi.org/10.1093/geroni/igz038.1558.

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Abstract This study investigated differences in the creative process and style between 85 older (age 60-89 years, M=72.39) and 63 younger (age 27-58 years, M=41.95) visual artists who were nominated as artistically creative exemplars. Answers to open-ended survey questions were coded and compared by age group. Results of t-tests showed that the described creative process and style were similar for older and younger artists, with many being inspired by their environment or ideas and engaging in an intuitive and visual style. However, younger artists were more likely than older artists to be inspired by ideas, words, life, and the work process and to use an intuitive, expressionistic, eclectic, spiritual, and textured style. Interestingly, younger artists were more likely to believe that older artists have greater artistic experience, maturity, willingness to take risks, and understanding of the art world, whereas older artists tended to think that young artists are more original.
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22

Ilyasova, R. I. „Artistic Design in Soviet Tatarstan on the Example of “Group No. 17”“. Art & Culture Studies, Nr. 1 (März 2024): 326–49. http://dx.doi.org/10.51678/2226-0072-2024-1-326-349.

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The article is devoted to a little-studied page of the late Soviet art of Tatarstan: the activity of design artists of the 1970s-1990s — “Group No. 17” (E. Golubtsov, V. Nesterenko, A. Leukhin, O. Boyko, R. Safiullin, V. Vyaznikov, and A. Yakupov), whose works represented the characteristic features of the technical aesthetics of the Senezh studio. The purpose of the article is to identify the context and facts related to the creative activity of the participants of this association, outline their range of interests, and study their projects. The first part of the article analyses the activities of the Senezh studio and its influence on the formation of young artists, those of Tatarstan in particular. The second part of the article presents the history of the emergence of the “Group No. 17” creative association in Kazan, its composition, forms and principles of operation. The third part of the article is devoted to the creative heritage of the design artists. For the first time, an attempt is made to generalize and systematize both realized and unrealized projects of the association, some of which are characterized. The author of the article investigates the main approaches and the nature of the Tatarstan design artists’ creative activity and highlights the originality and value of the group’s design projects, which brought the world-class high aesthetics to the masses.
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Ittu, Gudrun-Liane. „Siebenbürgisch-deutsche Künstlerinnen vom Ende des 19. und Anfang des 20. Jahrhunderts“. Studia Universitatis Babeș-Bolyai Historia Artium 65, Nr. 1 (31.12.2020): 127–55. http://dx.doi.org/10.24193/subbhistart.2020.07.

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"Transylvanian German women artists from the end of the 19th and beginning of the 20th century. The paper is aiming at analyzing the life and art of a group of six German women artists from Transylvania, the first ones who studied abroad, real forerunners for the next generation of female plastic artists. Emancipated ladies, determined to become artists and earn their own money, the gifted women studied in Budapest, Vienna, Munich or Paris. Only Molly Marlin did not come back home, while the others had a prodigious artistic and pedagogical activity, being present at the annual exhibitions, together with well-known male colleagues. Keywords: art academies, women artists, painters, graphic artists, art teachers, exhibitions, Sibiu, Betty Schuller, Hermine Hufnagel, Molly Marlin Horn, Anna Dörschlag, Lotte Goldschmidt, Mathilde Berner Roth "
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Styrna, Natasza. „Malarki, rzeźbiarki i graficzki z krakowskiego Zrzeszenia Żydowskich Artystów (1931–1939)“. Studia Judaica, Nr. 2 (48) (2021): 407–35. http://dx.doi.org/10.4467/24500100stj.21.017.15072.

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Painters, Sculptors and Graphic Female Artists From the Kraków Association of Jewish Artists, 1931–1939 Eleven women belonged to the Kraków Association of Jewish Artists, active in the 1930s. They dealt with painting, graphic art and sculpture. Unfortunately, not much has survived from their achievements. One of the most interesting artistic personalities in this group was Henryka Kernerówna, educated in Vienna. From 1918 on, female artists younger than her could benefit from studies at the Academy of Fine Arts in Kraków. In the reviews of the exhibitions of the Association, the gender of artists was rarely mentioned, except in some cases. The artists also belonged to other non-Jewish art groups. Most of them survived the war, but none of them remained in Kraków. Three of them were killed.
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Jee, Sangbaum, und Sungah Ahn. „Analysis of Social Network and Performance of High-Income Artists“. Korean Society of Culture and Convergence 45, Nr. 7 (31.07.2023): 299–310. http://dx.doi.org/10.33645/cnc.2023.07.45.07.299.

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This study is the first research to derive a social network activity index based on the career factors of the top 50 artists and analyze its relationship with transaction performance. The analysis results indicate that personal network centrality among artists has the most significant impact on transaction performance, followed by the importance of group network centrality. Additionally, the study categorizes artists into three clusters based on their careers: major and awards, education and number of solo exhibitions, and whether they studied abroad and social experience. These clusters demonstrate differences in transaction performance and social network characteristics. This study validates the importance of social networks that influence the transaction performance of visual artists, particularly by examining the network characteristics more closely by distinguishing between individual networks among artists and organization networks involving artists.
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Grube, Katherine. „Labouring bodies: Big Tail Elephants in 1990s Guangzhou“. Journal of Contemporary Chinese Art 7, Nr. 2-3 (01.12.2020): 201–19. http://dx.doi.org/10.1386/jcca_00026_1.

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Big Tail Elephant Working Group (daweixiang gongzuo zu, hereafter BTE) is synonymous with the city of Guangzhou and the surrounding Pearl River Delta. Formed in 1991, the group is most closely associated with the artists Chen Shaoxiong (1962–2016), Liang Juhui (1959–2006), Lin Yilin (1964–) and Xu Tan (1957–). This article re-examines BTE artists’ practice from 1991 to 1994 and argues that the artist’s performing body provides the critical lens through which to understand BTE artists’ work during this time. Acknowledging that the experience of BTE’s work was primarily physical, embodied and performative allows for an important reconsideration of not only their works but also the predominant ways in which the global capitalist ‘turn’ in the 1990’s China has been discussed in art historical writing. This article argues that BTE artists were primarily interested in urban forms for what they signified about commercialization as a form of a new political rationality after 1989 and suggests that BTE artists were ultimately concerned with commodification’s transformation of society and of ideas of cultural value.
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Okeke, C. „The Sensitive Line: Seven artists of the nsukka group“. Nka Journal of Contemporary African Art 1998, Nr. 8 (01.03.1998): 54–57. http://dx.doi.org/10.1215/10757163-8-1-54.

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28

Robinson, Susan. „Paintings of Fluorite from a Select Group of Artists“. Rocks & Minerals 88, Nr. 1 (Januar 2013): 66–71. http://dx.doi.org/10.1080/00357529.2013.747918.

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29

Borowska, Marta. „Wystawy Związku Plastyków Pomorskich i Grupy Plastyków Pomorskich w Muzeum Miejskim w Bydgoszczy w latach 1930–1936“. Porta Aurea, Nr. 17 (27.11.2018): 133–61. http://dx.doi.org/10.26881/porta.2018.17.06.

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The displays of particular artistic associations in the Municipal Museum in Bydgoszcz between 1930 and 1936 are being discussed. The history of Pomeranian artistic associations is not a well-known subject, and no dedicated monographs have been written to date. It appears commonly in the history of the regional chapter of the Polish Association of Visual Artists (Związek Polskich Artystów Plastyków) located in Bydgoszcz. The basic sources include the Archive of the Leon Wyczółkowski District Museum in Bydgoszcz and information contained in Polish press of the period in question. There were two main goals to be achieved for the Pomeranian artists: while aspiring to equal the art represented by more important artistic centres of the country, to show a close connection with their own region and its Polish heritage. During the interwar period, a number of artistic organisations appeared in Bydgoszcz. The most significant were the local branch of the Society for the Encouragement of the Fine Arts (Towarzystwo Zachęty Sztuk Pięknych), established in September 1921, and the Artistic and Cultural Council (Rada Artystyczno-Kulturalna), founded in December 1934. The first exhibition of the Pomeranian Association of Visual Artists (Związek Plastyków Pomorskich) was opened in December 1930 as a summary of the Association’s achievements of that year. It comprised 92 works by 15 artists. Subsequent exhibitions in December 1931 and December 1932 served a similar purpose. The turning point in the history of Pomeranian artistic associations took place in 1933 when – as a result of an internal conflict – the Group of Pomeranian Visual Artists (Grupa Plastyków Pomorskich) was formed. The Group quickly became the leading artistic force of the region, with their first exhibition opening in December 1933. The 4th annual exhibition of the Group of Pomeranian Visual Artists took place in December 1934, simultaneously with the founding of the Artistic and Cultural Council (Rada Artystyczno-Kulturalna) in Bydgoszcz. The Council coordinated, implemented, and documented artistic movements in specially dedicated sections for literature, music, visual arts and radio, quickly becoming an intermediary between artists and their audience. Tanks to their efforts, the first Salon Bydgoski exhibition was organised in 1936. That very year the Group of Pomeranian Visual Artists changed their name to the Group of Visual Artists of Bydgoszcz. Both organizations lacked a well-defined artistic programme, whereas their members were mainly connected for non-artistic motivations, such as the possibility to exhibit their works in well-known institutions or prestige. All of the discussed displays were widely covered in the local press, especially by Henryk Kuminek and Marian Turwid, two leading art critics of the region.
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Sandberg, Berit. „Art Hacking for Business Innovation: An Exploratory Case Study on Applied Artistic Strategies“. Journal of Open Innovation: Technology, Market, and Complexity 5, Nr. 1 (14.03.2019): 20. http://dx.doi.org/10.3390/joitmc5010020.

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Despite a growing interest in the effects of arts-based interventions on organizational change, concepts aiming at business innovation and product development other than residencies are rare. Furthermore, little is known about the role and impact of artists involved in idea-generating formats. How does the personal presence of artists in a heterogenous working group influence the procedure? To what extent do artists unfold their creative qualities while dealing with such a non-artistic challenge? The paper introduces a method named Art Hacking that applies professional labour attitudes typical for artists and artistic modes of thinking to business problems and enhances the approach by having artists attend the whole intervention. One of these events was taken as a case for exploring the role of four artists in the collective idea-generation process. The results of participatory observation along critical incident technique substantiate the thesis that in interdisciplinary “playgrounds” artists implicitly become process leaders. They are catalysts for awareness, sensemaking and change of perspective.
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Reagan, Trudy Myrrh. „Ylem: Serving Artists Using Science and Technology, 1981–2009“. Leonardo 51, Nr. 1 (Februar 2018): 48–52. http://dx.doi.org/10.1162/leon_a_01192.

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YLEM: Artists Using Science and Technology, a nonprofit group in the San Francisco Bay Area, was active from 1981 to 2009, publishing the YLEM Newsletter (later, the YLEM Journal). In the 1990s, it published the Directory of Artists Using Science and Technology, illustrated with members’ work, and established its website, < www.ylem.org >. YLEM’s public Forums introduced artists to science, scientists to art and the general public to new artistic and technological expression. It organized field trips to laboratories, industrial sites and artists’ studios and mounted exhibitions of members’ work. Members’ friendships mutually encouraged their work in this new arena.
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Durand-Ruel, Victoria Mouraux, und John Zarobell. „Contemporary art from the Global South in the art auction market from 2020 to 2022“. Arts & Communication 2, Nr. 1 (08.11.2023): 1608. http://dx.doi.org/10.36922/ac.1608.

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In recent years, emerging artists from the Global South have garnered substantial attention in the art market. This study seeks to examine the market value and ecosystem evolving around these emerging artists by analyzing the sales results of 51 artists between 2020 and 2022. This research aims to establish patterns linking unprecedented sales results with exhibition history and highlights the essential network required for these artists&rsquo; commercial success. The study reveals that the emergence of artists in the global art market results from a deliberate effort by a network of stakeholders. Our exhibition database led us to a group of 438 stakeholders who promote this sample of artists. By examining artists&rsquo; origins, backgrounds, and careers, this study provides context for analyzing the impact of artistic migration on artists&rsquo; visibility, the importance of being promoted by a variety of specialists, and the surge of African artists in the global art market since 2020. Our findings indicate that the structure of the art world has shifted toward a decentralized global art market characterized by a diverse range of actors and inputs dispersed globally. This diversification has disrupted traditional power structures in the art world, opening up new possibilities for emerging artists from the Global South, thereby contributing to a more equitable and inclusive art market.
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Mon, Nor Suliana Mak, Siti Zuraida Maaruf und Akmal Ahamed Kamal. „The Development of Artique - Independent Artists and Online Art Criticism“. European Journal of Social & Behavioural Sciences 30, Nr. 2 (30.04.2021): 3358–68. http://dx.doi.org/10.15405/ejsbs.293.

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Learning art online breaks the geographical barriers and frontiers between art students, artists, galleries, and museums. Studio critique can now be performed beyond the brick walls of a physical room through the virtual platform. This research studies on the impact of art criticism in an online gallery for independent artists which was developed through the design and development method (DDR) while Visual Culture Model was employed for Phase One in the Needs Analysis. The positive feedback obtained from five independent artists who participated in the research revealed that it is common for artists to use social networking sites as avenues for art criticism. The use of social networking sites is common among artists and regarded as valuable in their field. The respondents are supportive in the development of an online group for art criticism that could fortify their creativity and ultimately their artworks. Hence, the findings of the interview suggest that a social networking site like ARTIQUE would be a progressive platform for artists’ professional development.
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Robertson, Jack. „The exhibition catalog as source of artists’ primary documents“. Art Libraries Journal 14, Nr. 2 (1989): 32–36. http://dx.doi.org/10.1017/s0307472200006210.

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Exhibition catalogs and related ‘ephemera’ frequently include statements by artists which can be regarded as primary documents. Artists’ statements which are included in catalogs of group exhibitions tend to be relatively difficult to access and so are easily overlooked, while statements included in ephemeral publications associated with group exhibitions are virtually irretrievable even when such material is retained by libraries. Some help is available from published bibliographies and online databases; more thorough cataloging procedures are also available.
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Vogelaar, Josien. „A RING WITH MAGICAL POWERS: DUTCH ARTISTS WITH INTELLECTUAL DISABILITIES JOIN THE FASHION PROJECT OUTSIDERWEAR“. Cadernos CEDES 42, Nr. 116 (April 2022): 85–97. http://dx.doi.org/10.1590/cc259067_in.

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ABSTRACT This article presents a collaborative project carried out with these outsider artists and a group of young Dutch creatives. The project initiated by the cultural entrepreneur Jan Hoek consists of creating a fashion label Outsiderwear, in which young creatives, mostly fashion designers, were matched with outsider artists from Outsider Art Studios in Amsterdam; working together, the pair developed a collection. The idea was to establish a structural collaboration between professional creatives and outsider artists. Data is presented using interviews in order to construct a case study.
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KEMPLEY, EILÍS. „Julian Trevelyan, Walter Maclay and Eric Guttmann: drawing the boundary between psychiatry and art at the Maudsley Hospital“. British Journal for the History of Science 52, Nr. 4 (01.10.2019): 617–43. http://dx.doi.org/10.1017/s0007087419000463.

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AbstractIn 1938, doctors Eric Guttmann and Walter Maclay, two psychiatrists based at the Maudsley Hospital in London, administered the hallucinogenic drug mescaline to a group of artists, asking the participants to record their experiences visually. These artists included the painter Julian Trevelyan, who was associated with the British surrealist movement at this time. Published as ‘Mescaline hallucinations in artists’, the research took place at a crucial time for psychiatry, as the discipline was beginning to edge its way into the scientific arena. Newly established, the Maudsley Hospital received Jewish émigrés from Germany to join its ranks. Sponsored by the Rockefeller Foundation, this group of psychiatrists brought with them an enthusiasm for psychoactive drugs and visual media in the scientific study of psychopathological states. In this case, Guttmann and Maclay enlisted the help of surrealist artists, who were harnessing hallucinogens for their own revolutionary aims. Looking behind the images, particularly how they were produced and their legacy today, tells a story of how these groups cooperated, and how their overlapping ecologies of knowledge and experience coincided in these remarkable inscriptions.
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López-Piñeiro, Sergio. „Reconsidering the enabling architect“. Architectural Research Quarterly 14, Nr. 3 (September 2010): 286–88. http://dx.doi.org/10.1017/s1359135510001119.

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A trade can be of two types depending on the observation skills of its workers: deception managers or truth revealers. The first group is composed of spies, con artists and negotiators: all of them try to show what is not while ambiguously hiding what really is. Artists mainly define the second group: for them, an artistic product only works when it opens up the reality it aims to describe. Art is or is not. There is no middle ground: period.
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Yu, Sang-Min, und Yun-Suk Lee. „A Study on the Relationship between Institutional Factors and Stress in Popular Culture Artists“. Korea Association Of Cultural Economics 27, Nr. 1 (30.04.2024): 181–207. http://dx.doi.org/10.36234/kace.2024.27.1.181.

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This study aims to analyze the stress experienced by popular culture artists in the changing work environment. This study used the data from the '2021 Survey on Artists & Activities' in Korea. We analyzed the impact of institutional factors on artists' stress by popular culture field through Ordered logistic regression analysis between film, broadcast, and popular music artists and their stress levels. Career Interruption, Activities period, education, On-the-job injury, residence area and full-time status of broadcast artist significantly affected artist's stress. Also, Public Pension Salaried Workers of broadcast artist, and Group membership of popular music artist significantly affected artists' stress. On the other hand, Experience with Artist Unemployment Insurance were not found to be significant variables. This study suggests that the impact of institutional factors may differ depending on the nature of the popular culture sector, and shows the social limitations of the Artist Unemployment Insurance. The findings suggest that institutional improvements are needed, such as including artists in the scope of existing welfare schemes.
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Peffer-Engels, John, und Simon Ottenberg. „New Traditions from Nigeria: Seven Artists of the Nsukka Group“. African Arts 32, Nr. 2 (1999): 12. http://dx.doi.org/10.2307/3337596.

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Хайрулина, А. В. „The inspirer of the Shikotan group of artists O.N. Loshakov“. Iskusstvo Evrazii [The Art of Eurasia], Nr. 2(29) (30.06.2023): 210–23. http://dx.doi.org/10.46748/arteuras.2023.02.006.

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Статья посвящена творчеству академика Российской академии художеств, заслуженного художника Российской Федерации, профессора Олега Николаевича Лошакова. Материалы исследования расширяют диапазон представлений о годах творчества мастера на Дальнем Востоке. Вместе с организованной им группой молодых живописцев и графиков, первых выпускников Владивостокского художественного училища, он несколько десятилетий писал пейзажи на острове Шикотан. В статье представлены произведения живописи членов Шикотанской группы, обозначены характерные стилевые, композиционные и колористические особенности их работ. Проводится анализ творчества О.Н. Лошакова, в частности, выявляются новые аспекты его пейзажной живописи 1960-х годов, также рассмотрены работы зрелого и позднего периодов в контексте развития отечественного искусства второй половины XX – начала XXI века. Актуальность статьи определяется ограниченным количеством исследований о творчестве О.Н. Лошакова и художников Шикотанской группы, чьи работы являются яркой страницей в истории изобразительного искусства Приморья. The article is devoted to the study of the work of Oleg Nikolaevich Loshakov, the Academician of the Russian Academy of Arts, Honored Artist of the Russian Federation, Professor. He organized a group of young artists, consisting of his first graduates of the Vladivostok Art School, and together with them painted landscapes on Shikotan Island for several decades. The analysis of the paintings of the Shikotan group representatives made it possible to identify their characteristic stylistic, compositional and coloristic features. The research materials expand the range of ideas about the years of Loshakov's work in the Far East, reveal new aspects of his landscape painting of the 1960s, as well as the works of the mature and late periods in the context of the development of Russian art in the second half of the 20th – early 21st centuries. The relevance of the article is determined by the lack of an extensive study of the works of art by O.N. Loshakov and other artists of the Shikoltan group, whose artwork is a bright page in the history of Primorye fine art.
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Lawson, Carl J. „Mortality in American Hip-Hop and Rap Recording Artists, 1987–2014“. Medical Problems of Performing Artists 30, Nr. 4 (01.12.2015): 211–16. http://dx.doi.org/10.21091/mppa.2015.4039.

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BACKGROUND: The deaths of American hip-hop and rap recording artists often receive considerable media attention. However, these artists’ deaths have not been examined as a distinct group like the deaths of rock, classical, jazz, and pop music artists. This is a seminal epidemiological analysis on the deaths of an understudied group, American hip-hop and rap music recording artists. METHODS: Media reports were analyzed of the deaths of American hip-hop and rap music recording artists that occurred from January 1, 1987 to December 31, 2014. The decedents’ age, sex, race, cause of death, stage names, and city and state of death were recorded for analysis. RESULTS: The most commonly reported cause of death was homicide. The 280 deaths were categorized as homicide (55%), unintentional injury (13%), cardiovascular (7%), undetermined/undisclosed (7%), cancer (6%), other (5%), suicide (4%), and infectious disease (3%). The mean reported age at death was 30 yrs (range 15–75) and the median was 29 yrs; 97% were male and 92% were black. All but one of the homicides were committed with firearms. CONCLUSIONS: Homicide was the most commonly reported cause of death. Public health focus and guidance for hip-hop and rap recording artists should mirror that for African-American men and adolescent males ages 15–54 yrs, for whom the leading causes of death are homicide, unintentional injury, and heart disease. Given the preponderance of homicide deaths in this analysis, premature mortality reduction efforts should focus on violence prevention and conflict mitigation.
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Frohnapfel, David. „Notes on How to Irritate a Group of Committed Artists: Politics of Emotions at the Ghetto Biennale in Port-au-Prince“. Space and Culture 23, Nr. 1 (22.08.2019): 61–76. http://dx.doi.org/10.1177/1206331219871435.

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The Ghetto Biennale was founded in 2009 by British photographer, filmmaker, and curator Leah Gordon in collaboration with members of the Haitian artist group Atis Rezistans. The biennale is rooted in considerations around contemporary art as a place of klas privilege and social exclusion. The organizers took on the complicated task of bringing together artists from different socioeconomic strata in a short-time residency project in an informal neighborhood. Many of the visiting artists produce art that can be described as a socially engaged artistic praxis. By analyzing the Ghetto Biennale as a curated social situation that produces artistic poverty tourism, I discuss the varied hierarchical inter- klas relationships between the participating visiting and local Haitian artists. These relationships are often informed, I argue, by the politics of pity and a competitive sentiment of touristic shame that produces in return critical suspicion and a spiral of moral accusation within the visiting artistic milieu: Who collaborates most sincerely and decently with inhabitants of a neighborhood living in abject poverty? The visiting artists try to escape this spiral by self-censoring all potential self-interests in their praxes through a renunciation of authority and authorship and by declaratively presenting their projects as altruistic spaces of community empowerment that give a voice to “subaltern” artists. The members of Atis Rezistans in this narrative are seen to be constantly at risk of further marginalization by powerful actors from higher socioeconomic strata. But they actively deploy their own agency by negotiating these politics of pity for their own socioeconomic benefits.
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Bramantijo, Bramantijo. „Menjelajah Kultur Majapahit, Mencari “Identitas” Seni Rupa Kontemporer Jawa Timur“. Jurnal Budaya Nusantara 1, Nr. 1 (01.01.2017): 31–43. http://dx.doi.org/10.36456/b.nusantara.vol1.no1.a989.

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The identity of Indonesian art is loaded with political contents in the interests of harmony. Indentity becomesthe differentiator and positioning in artwords. East Java gets the fortunes to be the locus of Majapahit and heritage ofthe Majapahit culture, but the atmosphere of contemporary art gives artists of freedom to explore the variety oftraditional cultures in various loci and make as identity. The sole recognition of a culture by a group community is nolonger relevant. The other way, it occurs the ability of artists to discover the characteristics of traditional cultures and topresent it typically as a differentiator with other artists.
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Golan, Romy. „Vitalità del negativo/Negativo della vitalità“. October 150 (Oktober 2014): 113–32. http://dx.doi.org/10.1162/octo_a_00203.

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Vitalità del negativo nell'arte italiana 1960/70, an exhibition that occupied the ground floor of the monumental Palazzo delle Esposizioni from November 30, 1970, to January 31, 1971, revived an ideologically loaded site in Rome under the mantle of contemporary art. Curated by Achille Bonito Oliva, it featured thirty-four Italian artists from a wide range of schools and mediums: painters from the Scuola di Piazza del Popolo (the Roman school of Pop); members of the ′60s Milanese group Azimut; kinetic environments by Padua's Gruppo N and Milan's Gruppo T; artists from Arte Povera; and other, more idiosyncratic installation artists.
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Mason, Helen, und Lyn Robinson. „The information‐related behaviour of emerging artists and designers“. Journal of Documentation 67, Nr. 1 (18.01.2011): 159–80. http://dx.doi.org/10.1108/00220411111105498.

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PurposeThis paper aims to report an empirical study of the information‐related behaviour of emerging artists and designers. It also aims to add to understanding of the information behaviour of the group both as practising artists (a little understood category of information users), and also as “new practitioners”.Design/methodology/approachA literature analysis is used to guide creation of an online questionnaire, eliciting both qualitative and quantitative data. A total of 78 practising artists participated, all having graduated in the seven years prior to the survey.FindingsThe group have generally the same information practices as more established artists. They place reliance on internet and social networks, while also using traditional printed tools and libraries. Browsing is important, but not a predominant means of accessing information. Inspiration is found from a very diverse and idiosyncratic set of sources, often by serendipitous means. Their status as emergent practitioners means that their information behaviour is governed by cost factors, and by needs for career advice and interaction with peers.Research limitations/implicationsThe study group are a convenience sample, all having access to the internet. No observation or interviews were carried out.Practical implicationsThe results will provide guidance to academic and public librarians serving artist users, and to those providing career advice to them. It will also be valuable to those providing services to “new practitioners” in any field.Originality/valueThis is one of a very few papers reporting empirical studies of the information behaviour of artists, and has the largest sample size of any such study. It is one of a very few papers considering the information needs and behaviour of new practitioners.
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Firth-Eagland, Alissa. „Negotiating Serendipitous Specifics or Curating Site-Specific Performances That Didn’t Begin That Way“. Canadian Theatre Review 126 (März 2006): 42–44. http://dx.doi.org/10.3138/ctr.126.007.

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In June 2005, I curated Sound Madness 2, an evening of sound works and performances by artists-in-residence from the Sound + Vision Creative Residency at the Banff Centre. This group of artists from Japan, Mexico, the United States and Canada were at the centre to explore, experiment and play within the fields of music, sound, popular culture and contemporary visual culture.1
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Moschopedis, Eric. „Bubonic Tourist and Yukon Arts Centre Lay Some Yukon PIPE: Project History“. Canadian Theatre Review 126 (März 2006): 88–91. http://dx.doi.org/10.3138/ctr.126.018.

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During the summer of 2005, Calgary’s Bubonic Tourist was commissioned by Yukon Arts Centre executive director Chris Dray to workshop and facilitate a group of eight emerging artists in Whitehorse. The objective was to create community through performance by providing Yukon artists with tools for creating original site-specific performance and by curating a Yukon PIPE (Performance in Peculiar Environments) Festival.
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Piątkowska, Renata. „Artystki i miłośniczki sztuki – kobiety w żydowskim życiu artystycznym międzywojennej Warszawy. W kręgu Żydowskiego Towarzystwa Krzewienia Sztuk Pięknych“. Studia Judaica, Nr. 1 (47) (2021): 175–211. http://dx.doi.org/10.4467/24500100stj.21.007.14609.

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Artists and Art Lovers: Women in the Jewish Artistic Life of Interwar Warsaw. In the Circle of The Jewish Society for the Encouragement of Fine Arts Research on Jewish artistic life in interwar Warsaw, especially in the context of the activities of the Jewish Society for the Encouragement of Fine Arts (Żydowskie Towarzystwo Krzewienia Sztuk Pięknych), reveals active and numerousparticipation of women, both artists and art lovers (by and large a group of professionals, bourgeois, political and social activists, Jewish art collectors). In the article, special attention is paid to Tea Arciszewska and Diana Eigerowa, a collector and philanthropist, the founder of the Samuel Hirszenberg scholarship for students of the Academy of Fine Arts in Warsaw. The author, using selected examples, discusses the role of artists in the artistic community, their individual exhibitions in the Jewish Society for the Encouragement of Fine Arts (Stanisława Centnerszwerowa, Regina Mundlak), a group of young artists living in Paris (Alicja Hohermann, Zofia Bornstein, Pola Lindenfeld, Estera Karp), as well as a circle of art lovers and patrons, some of whom—such as Tea Arciszewska and Paulina Apenszlak—also dealt with art criticism.
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Bañez, Richard Mendoza. „Thematic Construction of Digital Visual Arts: Implications for Digital Pedagogy“. Journal of Learning for Development 10, Nr. 2 (18.07.2023): 196–209. http://dx.doi.org/10.56059/jl4d.v10i2.773.

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This paper attempts to describe the signifier choice of student artists in thematic representations of digital visual arts and determine its implications for digital pedagogy. Utilising a qualitative approach to research and covering a corpus of six digital artworks of student artists, the semiotic analysis utilising Peirce’s (1991) sign modes showed the student artists’ preference for mostly indexical and symbolic signifiers in thematic representations of Filipinos’ resiliency to the pandemic. This signifier choice of student artists was influenced by their experience, family, self, other artists, and their initiatives for finding information and drawing inspiration from online sources, as revealed in the conducted Focus Group Discussion (FGD) with the participants. Moreover, the individual interviews with the participants demonstrated that the student artists’ choice of signifiers served as a vehicle for expression, representation, and impression of ideas, themes, and abstractions dominating their artworks. This study calls for the integration of digital artmaking tools into pedagogy to provide opportunities for artistic expression and support diverse representation. Teachers can introduce various digital tools and platforms, create assignments that encourage creative experimentation, and foster a safe and inclusive classroom environment. Future research could explore the practical applications of digital pedagogy in visual arts education.
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Jegede, Dele. „New Traditions from Nigeria: Seven Artists of the Nsukka Group:New Traditions from Nigeria: Seven Artists of the Nsukka Group.“ American Anthropologist 102, Nr. 2 (Juni 2000): 400–402. http://dx.doi.org/10.1525/aa.2000.102.2.400.

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