Thematische Bibliographien / Lastplak (Group of artists)

Auswahl der wissenschaftlichen Literatur zum Thema „Lastplak (Group of artists)“

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Veröffentlicht am 27. Juli 2024

Zuletzt aktualisiert am 28. Juli 2024

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Zeitschriftenartikel zum Thema "Lastplak (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.

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

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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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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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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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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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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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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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Dissertationen zum Thema "Lastplak (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.

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Duran, 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.

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Thorpe, 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.

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Roza, 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.

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During the 1910s, there was an increasing concerted effort on the part of Canadian artists to create art and literature which would affirm Canada's sense of nationhood and modernity. Although in agreement that Canada desperately required its own culture, the Canadian artistic community was divided on what Canadian culture ought to be. For the majority of Canadian painters, writers, critics and readers, the future of the Canadian arts, especially poetry and painting, lay in Canada's past. These cultural conservatives championed art which mirrored its European and Canadian predecessors. Their domination of the arts left little room for the progressive minority, who rebelled against prevailing artistic standards. In painting, the Group of Seven was one of the first groups to challenge this stranglehold on Canadian culture. The Group waged a protracted and vocal campaign for the advancement of Canadian approaches and subjects. In literature, A. J. M. Smith and F. R. Scott began a similar movement to modernize Canadian poetry and reform critical standards. By examining the poetry, essays, criticism and archival material of these poets and painters, the thesis establishes strong parallels between the modernist campaigns of these two groups and investigates this cross-fertilization between the modern Canadian arts.

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Cass, 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.

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Thesis (Ph. D.)--University of Kentucky, 2004.
Title 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).

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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.

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This ethnography explores the underground art world in Portland, Oregon by showing how a Portland area artist collective, Oregon Painting Society, navigates their art world. Participant observation, in-depth interviews, and a short latent content analysis triangulate data to show the features and values of the underground art world. Using Becker's concept of art worlds, I show how artists working outside of a traditional art career in a commercial gallery system do their work by exploring how Portland's art world is structured and sustained. I find that group work, cooperation, and resource sharing in a vibrant neighborhood based social network enables artists to substitute resources usually provided by gallery representation and sustain their ability to make artwork without financial support. This is a network that rejects the competitive structure of the commercial system and runs more smoothly the more artists participate in it. I also explore the reasons for Portland's particular ability to support this kind of environment, citing geographic proximity to other art cities, DIY cultural roots, neighborhood structure, affordable city amenities, and a creative class population.

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Stokes, 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.

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Dessy, 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.

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En 1888, une communauté de peintres s’associe sous l’appellation « Nabis ». Ce terme, issu de l’hébreu, signifie à la fois les « prophètes » et les « initiés ». Paul Sérusier qui vécut sa rencontre avec Paul Gauguin comme une révélation est à l’origine de la formation du groupe. Une année auparavant, le symbolisme littéraire triomphe en France et suscite l’émulation parmi une nouvelle génération d’écrivains qui se cristallise autour de /La Revue Blanche/ et le /Mercure de France/. Entre les Nabis et les symbolistes s’établit dès lors un intense réseau de collaborations. Tant dans l’élaboration des décors et programmes du Théâtre de l’œuvre de Lugné-Poe que dans l’illustration d’ouvrages d’André Gide, d’Alfred Jarry ou encore de Jules Renard, les Nabis participent activement à la vie littéraire de leur temps tout en s’incarnant volontairement comme une avant-garde picturale. Les échanges nombreux entre peintres et écrivains sont alors loin de se limiter à de simples commandes. Ils aboutissent souvent à des amitiés durables comme celles qui unirent Gide à Maurice Denis et Jarry à Pierre Bonnard. La recherche s’interroge sur la motivation de cette nouvelle génération d’écrivains qui sollicita le groupe nabi, ainsi que sur la nature des projets qui les unirent. Les revues littéraires occupent une place importante dans le rassemblement entre les écrivains et ce groupe de peintres. La volonté d'identifier une aile picturale qui fasse écho dans le champ artistique au désir d'innover dans le champ littéraire stimule les sollicitations des écrivains de la seconde génération symboliste. Les Nabis, qui se méfient toutefois d'une soumission trop grande au fait littéraire, induisent par leurs développements artistiques et leurs théories les paramètres d'une nouvelle relation entre peintres et écrivains dans laquelle ces derniers ne recherchent plus la domination stratégique de l'art littéraire sur la peinture.

Outre 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

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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.

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Notre thèse se concentre sur la question des mécanismes de restructuration du système du monde de l’art à Bruxelles à la fin du XIXe siècle. Nous cherchons à démontrer comment une nouvelle scène artistique construite autour du cercle des XX à Bruxelles, dont l’épanouissement sera pris en charge par l’animateur d’art Octave Maus, produit un art qui est influencé par les enjeux sociaux et politiques portés par un milieu défini de manière sociale, culturelle et générationnelle.

Nous 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

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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.

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Research Doctorate - Doctor of Philosophy (PhD)
Beginning 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.

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Bücher zum Thema "Lastplak (Group of artists)"

Verheul, Leo. Het Feyenoord-mysterie: Wie, wat, hoeveel en hoe verder? Rotterdam: Botwolf, 2012.

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Tony, Bradshaw, Bloomsbury Workshop und Sherborne House (Sherborne, Dorset, England), Hrsg. The Bloomsbury group artists. Sherborne: Sherborne House, 2002.

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Dingwerth, Shaun Thomas. The Richmond Group artists. Bloomington, Indiana: Indiana University Press, 2014.

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Gallery, Delhi Art, Hrsg. Continuum: Progressive artists' group. New Delhi: Delhi Art Gallery, 2011.

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Zaini, Syahrul Niza Ahmad. Destiny: Young group show. Kuala Lumpur: Balai Seni Visual Negara, 2013.

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Gillian, Naylor, Hrsg. Bloomsbury: The artists and designers bythemselves. London: Macdonald/Orbis, 1989.

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Gallery, Delhi Art, Hrsg. Mumbai modern: Progressive artists' group, 1947-2013. New Delhi: Delhi Art Gallery, 2013.

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International, Ora. Artists 8: Future Legacies : The ORA group of Eight Safed artists. [S.l.]: ORA International, 1990.

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Gillian, Naylor, Hrsg. Bloomsbury: Its artists, authors, and designers. Boston: Little, Brown, 1990.

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J, Berenger Daniel, Sturzenhecker Benedikt 1958- und Artists Unlimited (Artists' group), Hrsg. Artists unlimited 20+. Bielefeld: Kerber, 2005.

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Buchteile zum Thema "Lastplak (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.

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Kiliszek, Joanna. „Living Simulacrum“. In Cultural Inquiry, 219–29. Berlin: ICI Berlin Press, 2022. http://dx.doi.org/10.37050/ci-21_22.

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The Neoplastic Room at the Muzeum Sztuki in Łódź was originally designed in 1948 by the avant-garde artist Władysław Strzemiński. Destroyed in 1950 and reconstructed in 1960, it became the focal point of the museum, with the ‘International Collection of Modern Art’ by the a.r. group being exhibited there. At the same time, it became a point of reference for contemporary artists and a strategy for building a permanent collection for the museum, as well as a reflection on how the past can give a vision of the future. This essay focuses on the gesture of ‘re-curating’ the Neoplastic Room in relation to the performative practice of the artists involved (e.g., Daniel Buren, Elżbieta Jabłońska).

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Mazzanti, 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.

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AbstractOperazione Arcevia (OA) is an urban settlement project, born for the purpose of the social, economic, and touristic regeneration of a marginal area in the Marchigiane hills, characterized by its postwar exodus. Conceived between 1972 and 1974 on the initiative of the businessman Italo Bartoletti, like every newly constituted city it was designed with a political and cultural identity by the architect Ico Parisi in collaboration with two renowned critics (Cripolti and Restany), a psychologist, and a large number of artists (Arman, César, Ceroli, Soto, Staccioli, among others). OA remained in its germinal phase, and this was indeed its final result, the fruit of participative work presented at several exhibition events: Venice 1976; Rome 1979). In this ideal city imagined by the erudite group of operators, along with its utopian aspects, there are also practical ones and design hypotheses that can still inspire and provide food for thought: the close collaboration between planners and artists; anti-monumental intentions for art with a social nature and characterized by shared practice; built-up urban relations and the landscape dimension; the coexistence between productive and residential communities and temporary communities, both touristic, in terms of hospitality, and as a secular space in which to take refuge. Cooperating together with Parisi and the critics were 33 artists who together created tavole progettuali (design boards) that combined design, technical design, photographic images, and collages, i.e. fully-fledged works of art and creativity.

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Cangiano, 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.

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Kinetic and programmed art has been a trend of contemporary arts that flourished in the 1950s and 1960s. Kinetic artworks often incorporated technology, at that time still immature, and involved the audience in the production of visual, sound, and somatic effects. Gruppo T was the pioneering group at the forefront of this groundbreaking vision of art as reproducible, participatory, and interactive. Through an action research project and the methodological tool of reenactment, a group of researchers, designers, and artists has proposed an alternative way to conserve Gruppo T artworks. The project ‘Re-programmed Art: An Open Manifesto’ originated from the ephemeral and experimental features, as well as fragility, of the works by Gruppo T — that is, from the difficulties of practice, conservation, technology, and market that have confined them for far too long to the margins of mainstream art history. We conceive reenactment not just a mere restaging but as re-designing, re-thinking, updating, and re-programming a series of works by Gruppo T.

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Stroeken, 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.

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AbstractHip hop performances present another case when opponents dissing each other attract a crowd for harnessing the energy between attendants. The slur appropriated by the artist representing a discriminated group illustrates the principle: use the energy of the simplex instead of evading it. Immunity through contagion. Far from representing an ideology, the artist lets inspiration in and sings the message which can be felt to have collective reason. The tensor of street cred de-simplicates politics. Artists claiming a ‘moral self’ in opposition to ‘immoral others’ are simplicating the situation with a unidimensional message, whereas frame-shifters, like Professa Jay, Mbembe or 50 Cent, turn the tables on themselves to temporarily impersonate the immoral. Their ironizing renders their comparison of frames viable instead of hegemonic.

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„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.

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„The Black Artists’ Group“. In Flyboy 2, 50–55. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822373995-007.

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„The Black Artists’ Group“. In Flyboy 2, 50–55. Duke University Press, 2016. http://dx.doi.org/10.1215/9780822373995-014.

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„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.

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„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.

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Konferenzberichte zum Thema "Lastplak (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.

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„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.

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Mokhov, 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.

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Eales, 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.

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Dias, 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.

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Kashina, 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.

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The success of the South Korean entertainment agency HYBE, which was valued at $9.5 billion in 2020, makes studying its marketing and business strategy relevant. An analysis of the data of an online survey of 2.5 thousand Russian BTS fans (the main artists of HYBE) shows that the key factors of popularity are technological and personal ones. First factors are a large amount of video in various social net-works, high-quality video clips, beau-tiful, non-standard (Asian) appearance of artists, the inclusion of BTS creativity in the Korean wave as a whole (links, tags). Second factors are the content and the work with fans. Artists want to provide psychological support to their fans by generating in them a sense of optimism, self-love, and group identity.

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„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.

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Lord, 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.

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Forrest, 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.

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Frémontier-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.

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SHORT PAPER. The journal Leonardo was founded in 1968 by Frank Malina, a pioneer of light art in Paris and of aerospace science in the United States. Leonardo encouraged artists to publish their work in the manner of scientists. It was a new initiative developed in the revolutionary context of the 1960s and that allowed artists, scientists, psychologists to exchange on the subjects of art, perceptions, science, society... Many pioneers of digital art took part in the adventure, including Vera Molnar, Zdenek Sykora, Charles Csuri, and the artist-novelist Herbert Franke, who became the advocate of the theories and the protagonists of digital art spread out over the four corners of the planet, just about everywhere a computer could be found. The growing group was defending a more conceptual approach to art, closer to the spectator, a new form of art rooted in Constructivism and that was in symbiosis with society’s mutation towards technology.

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Berichte der Organisationen zum Thema "Lastplak (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.

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Nine artists, all living in Costa Rica, were selected out of thirty-four who responded to an open call to present portfolios. The selection criteria is to be forty years of age or younger, have had at least one individual show, and have participated in a minimum of three group exhibitions. The exhibition has been organized by the IDB Cultural Center in collaboration with the Foundation of the Central Bank Museums of Costa Rica. Works include installations and interactive digital art, digital graphics, conventional photography, ceramics, painting, wire drawing and design objects manufactured with recycled materials. Artists include Víctor Agüero Gutiérrez, Jorge Albán Dobles, Tamara Ávalos León, Paco Cervilla Cartín, Carolina Guillermet Dejuk, José Alberto Hernández Campos, Sebastián Mello Salaberry, Francisco Munguía Villalta, and Guillermo Vargas Jiménez (a.k.a. Habacuc). The exhibit was part of the IDB Cultural Center¿s 15th anniversary celebration (1992-2007).

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

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

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Pollock, 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.

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Pivot is a movement of radical ideas for the Caribbean of the future. In 2020, the IDB and its partners (Caribbean Climate Smart-Accelerator (CCSA), Destination Experience (DE), and Singularity University) launched The Pivot Movement and asked the people of the Caribbean to think of big ideas to transform the region. A small group came together at The Pivot Event to design 9 moonshots for electric vehicles, digital transformation and tourism. Pivot: The Future Makers is a comic book produced by the Pivot partners and illustrated by Caribbean artists. In it, the 9 moonshots have been developed into fictional stories as a simple and powerful means of conveying possible, probable futures, to help us visualize the Caribbean in 2040.

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Graphics from Latin America and the Caribbean: September 10 - November 15, 2002. Inter-American Development Bank, September 2002. http://dx.doi.org/10.18235/0005919.

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20 lithographs, etchings, linocuts, woodcuts, silkscreens and other works in various graphic techniques by artists from the Americas were presented at the Robert V. Fullerton Art Museum, California State University, San Bernardino, California. This is the first group exhibition organized by the museum of works on paper by some of the most recognized artists of the 20th century from Latin America and the Caribbean. It includes graphics by José Clemente Orozco, Diego Rivera, David Alfaro Siqueiros; Roberto Sebastián Matta; Enrique Grau, and others.

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A Century of Painting in Panama. Inter-American Development Bank, November 2003. http://dx.doi.org/10.18235/0005898.

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An exhibition of exceptional paintings by 25 outstanding artists selected from a survey of a wide-ranging group of art connoisseurs, historians, critics, professors and art dealers in Panama gave the public an overview of the development of painting in Panama over the 20th century. The selection included early 20th century artists such as Roberto Lewis, Humberto Ivaldi, and Manuel Amador; and painters from Mid-century and end of the 20th century. Dr. Mónica E. Kupfer, Former Curator of the Panama's Museum of Contemporary Art, was invited as Associate Curator for this exhibition.

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