Thematische Bibliographien / Visual Arts and Crafts Studies

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Auswahl der wissenschaftlichen Literatur zum Thema „Visual Arts and Crafts Studies“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 1. Februar 2022

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Zeitschriftenartikel zum Thema "Visual Arts and Crafts Studies"

Piters-Hofmann, Ludmila. „Regulating Russian Arts and Crafts“. Experiment 25, Nr. 1 (30.09.2019): 310–27. http://dx.doi.org/10.1163/2211730x-12341345.

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Abstract On March 10, 1913, the “Second All-Russian Kustar Exhibition” opened in St. Petersburg under the patronage of the Empress Alexandra Fedorovna. The largest display of folk art and kustar goods in Imperial Russia, it was a huge success with the public and significantly shaped the layman’s view of Russian folk art. Although this exhibition has garnered considerable attention within the scholarly discourse, it has mainly been discussed from the critics’ point of view. This article provides complementary insights by reconstructing the organizational efforts that contributed to the public success of the exhibition and by analyzing the reaction of the organizing committee to criticism in the contemporary press.

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Tressol, Nathanaëlle. „The Reception of Russian Arts and Crafts in French Art Journals“. Experiment 25, Nr. 1 (30.09.2019): 346–62. http://dx.doi.org/10.1163/2211730x-12341347.

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Abstract This article focuses on the French reception of Russian Arts and Crafts in the early 1900s. As a consequence, firstly, of the Russian display at the 1900 “Exposition Universelle,” and, secondly, of the increasing number of Russian exhibitions and other cultural events in Paris, French art periodicals and sections on art in the mainstream press contained many reports about the movement. Several writers expressed their opinion about Russian modern Arts and Crafts and participated in their promotion in France. The main purpose of the article is to shed light on those French critics who were responsible for this process of mediation and the way in which their discourses adopted a comprehensive approach to Russian Arts and Crafts experiments. It examines which artists and which exhibitions were particularly welcomed in around 1906; special attention is paid to Abramtsevo and Talashkino, and, therefore, to Maria Tenisheva.

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Oser, Jesco. „“Rodnik”: A Source of Inspiration“. Experiment 18, Nr. 1 (2012): 61–88. http://dx.doi.org/10.1163/221173012x643053.

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Abstract The article discusses the history of Princess Mariia Tenishevaʼs workshops at Talashkino which, in the early 1900s, played a significant role in Russia’s Arts and Crafts movement. Recently discovered photographs of the interior of “Rodnik,” the store in Moscow that marketed Talashkino wares from 1903 to 1906, were the occasion to shed more light on Tenisheva’s attempt to revive popular craft traditions by creating artist-designed and hand manufactured goods for daily use.

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Behrens-Abouseif, Doris. „European Arts and Crafts at the Mamluk Court“. Muqarnas Online 21, Nr. 1 (22.03.2004): 45–54. http://dx.doi.org/10.1163/22118993_02101006.

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Harris, Trudier, und William Ferris. „Afro-American Folk Art and Crafts“. Western Folklore 44, Nr. 1 (Januar 1985): 52. http://dx.doi.org/10.2307/1499953.

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Vyazova, Ekaterina. „English Influences, Russian Experiments“. Experiment 25, Nr. 1 (30.09.2019): 207–25. http://dx.doi.org/10.1163/2211730x-12341339.

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Abstract This article analyzes the Neo-Russian style in children’s book illustrations in Russia and compares it to analogous artistic developments in England, revealing a similar evolutionary path to that of other national variants of Art Nouveau. The initial aesthetic impulse for this evolution came from the promotion of crafts and medieval handicrafts by “enlightened amateurs.” The history of children’s books, with its patently playful nature, aestheticization of primitives, and free play with quotations from the history of art, is an important episode in the history of Russian and English Art Nouveau. Starting with a consideration of the new attitude towards the “theme of childhood” as such, and a new focus on the child’s perception of the world, this article reveals why the children’s book, long treated as a marginal genre, became a fertile and universal field for artistic experimentation at the turn of the twentieth century. It then focuses on Elena Polenova’s concept of children’s book illustrations, which reflected both her enthusiasm for the British Arts and Crafts movement, and, in particular, the work of Walter Crane, and her profound knowledge of Russian crafts and folklore. The last part of the article deals with the artistic experiments of Ivan Bilibin and the similarities of his book designs to those of Walter Crane.

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Stansky. „Arts and Crafts Objects, by Imogen Hart“. Victorian Studies 54, Nr. 1 (2011): 157. http://dx.doi.org/10.2979/victorianstudies.54.1.157.

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Antaki, Berea, und Katalin Medvedev. „Bolivian textile crafts and the subversion of institutionalized sustainability“. Clothing Cultures 7, Nr. 1 (01.03.2021): 91–100. http://dx.doi.org/10.1386/cc_00031_1.

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This article describes the tensions between institutionalized and grassroots forms of sustainability and their subsequent effects on textile artisans in La Paz, Bolivia. Principles of the indigenous cosmology Suma Qamaña are applied to the twenty-first-century challenge of environmental degradation and governmental corruption in the description of craft practices at two artisan collectives in La Paz. Suma Qamaña is an expression of the harmonious and respectful coexistence of humans with nature, which entails communal values and reciprocal resource management principles. The study highlights grassroots, practical solutions that encourage economic and environmental sustainability for textile cooperatives in Bolivia. Through extensive participant observation and in-depth interviews, this study seeks to understand how the lives of artisans are affected by the Bolivian government’s appropriation of the Suma Qamaña cosmology. The current political party, the Movimiento al Socialismo, has gained popular support in Bolivia partly by institutionalizing the inherent rights of nature in the national constitution. Despite this, the government continues to pursue extractive natural resource policies. To counter this, Bolivian textile artisans practise their own version of bottom-up sustainability, which does not rely on government institutions to enforce change. The artisans’ situated practices, traditional knowledge base and the inherently sustainable characteristics of craft production ‐ flexible, small-scale, localized and resilient ‐ reflect potential trends and alternatives for apparel production.

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Waldron, Michael. „‘The wish to paint’: Bowen and the Visual Arts“. Irish University Review 51, Nr. 1 (Mai 2021): 85–99. http://dx.doi.org/10.3366/iur.2021.0497.

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Throughout her life, Elizabeth Bowen maintained a rich network of artist friends and acquaintances. She often attended exhibitions and was an astute, sometimes caustic critic in letters as well as reviews. Her short tenure as an art student is an often mentioned but rarely, if ever, explored biographical fact, yet it was a key moment in her creative development. It is perhaps unsurprising then that she began to write while ‘still under the influence of … the wish to paint.’ This essay considers Bowen's significant relationship with the visual arts, from her art training and networks to her critical engagement and deeply visual prose. In childhood, Bowen was taught to paint by Elizabeth Yeats and forged a lasting friendship with Mainie Jellett, one of Ireland's great modernists. In 1918, Bowen enrolled at the LCC Central School of Arts and Crafts but, convinced she lacked the requisite artistic talent, she withdrew from her studies after only two terms. This sense of failure plunged her into an artistic crisis from which writing offered a creative way forward. Tellingly, Bowen later reflected that her earliest stories ‘had the character of a last hope’. In describing the best of her writing as ‘verbal painting’, Bowen offers us a lens through which to conceptualise the dynamic dialogue between her more experimental prose and visual modernism. Drawing together aspects of her artistic formation, milieu, and taste, this essay ultimately seeks to provide a series of layered contexts to enrich our understanding of Bowen's fictions, including The Last September (1929) and To the North (1932).

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Teunissen, José. „Deconstructing Belgian and Dutch Fashion Dreams: From Global Trends to Local Crafts“. Fashion Theory 15, Nr. 2 (Juni 2011): 157–76. http://dx.doi.org/10.2752/175174111x12954359478645.

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Dissertationen zum Thema "Visual Arts and Crafts Studies"

Hunkin, Mathew. „Drawing from experience : visual modality in historic narrative illustration : a thesis presented in partial fulfilment of the requirements for the degree of Master of Design, Massey University, Institute of Communication Design, College of Creative Arts, Wellington, New Zealand“. Massey University, 2010. http://hdl.handle.net/10179/1342.

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This research investigates critical methods for approaching aesthetic design decisions in illustration. As a method of communication illustration qualifies its subjects through aesthetic choices, or modalities. The qualifying nature of these modalities can affect communication in an image and this research seeks an explicit understanding of how this communication occurs. This practice-based research project employs two aesthetic extremes, line and tone, in the creation of four historic visual narratives designed to fill visual gaps in the history of 1 Commando Fiji Guerillas. Line and tone are tendered as a means of visually negotiating the informing records of the Fiji Commando experience, records characterised by both conflict and absence. Can these disparate, conflicting, yet necessary records of experience be visually acknowledged in an illustrated expansion of the Fiji Commando's visual history? This position serves as the point of departure for research. An understanding of the communicative properties of line and tone is followed by investigation into their relationship to the propositions they represent, with initial research suggesting that modalities reflect the social contexts from which they encode. This relationship implied a means to negotiate the historic records necessary in a contemporary visual articulation of the Fiji Commando experience through the strategic use of aesthetic modalities to acknowledge the nature of informing source material. This practice-based approach to research allowed the consolidation of both the possible and the probable in the creation of a new visual, historic text, while revealing analytical approaches to aesthetic choice.

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Hansen, Lans. „Desirable impact : an exploration of how design for desirability can enhance a forecast snowboarding safety product“. Massey University, 2010. http://hdl.handle.net/10179/1328.

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With origins in skateboard and surfing culture, snowboarding has grown to become a mainstream recreational and professional sport, officially recognized in the Olympic Games. This popularity can be attributed to several factors, including the sub-culture of rebellion and self-expression it embodies and the daring, dynamic aerial maneuvers and stunts often portrayed in the media. However, the sport also exposes participants to a well-documented injury pattern, with injuries rates typically twice as frequent as those seen in skiing. While a number of studies have shown existing snowboarding safety products reduce the risk of injury, these readily available products are not widely used among participants who view them as “uncool” and “unnecessary”. Exploring how affective features and attributes can improve the desirability of a forecast snowboarding personal protective equipment (PPE) product, this thesis proposes that a primary requirement for these products must be desirability - to make attractive, to create a positive impression, to strengthen ones identity and engender appreciation. Responding to these emotional needs, this thesis presents a proposal for a product designed to enhance user-experience, challenging the current philosophy of safety products and their ‘uncool’ perceptions.

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Day, Catherine. „Being storied; a lived experience in time : an exegesis presented in partial fulfilment of the requirements for the degree of Master of Fine Arts at Massey University, Wellington, New Zealand“. Massey University, 2009. http://hdl.handle.net/10179/957.

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Being storied; a lived experience of time discusses selected aspects of the research and studio practice undertaken in the course of the year 2008. Central to the process has been attending to the mundane acts of everyday life in the rural environment in which I live. It discusses actions such as walking, listening, collecting and documenting as well as experiments with a waste material, used baling plastic that is installed in various ways into the landscape. Parallel to this are investigations with sound and text, which have drawn on my varied musical background. There is an exploration of time - the idea of durée, human experience of time, quality of attention through intense focus, and memory as it accumulates over time. Art of the everyday has also been a key area of research. Life changing events have occurred during the course of the year. The death of parents has substantially influenced the work. The practice described is multi-faceted, involving the use of text, sound, photography and film.

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Jahnke, Robert Hans George. „He tataitanga ahua toi : the house that Riwai built, a continuum of Māori art“. Massey University, 2006. http://hdl.handle.net/10179/984.

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Prior to the 1950s, visual culture within tribal environments could be separated into customary and non-customary. In the early 19th century, customary visual culture maintained visual correspondence with prior painted and carved models of the pre-contact period. In the latter part of the 19th century, non-customary painted and carved imagery inspired by European naturalism informed tribal visual culture. This accommodation of European imagery and practice was trans-cultural in its translation to tribal environments. In the 1960s, an innovative trans-customary art form evolved outside tribal environments, fusing customary visual culture and modernism. This trans-customary art form, which maintained visual empathy with customary form of the 19th century, was introduced into the tribal environment, initially, in a painted mural in 1973, and subsequently in a multimedia mural in 1975. In 1989 and 1990, this trans-customary Maori art practice informed the art of the Taharora Project at Mihikoinga marae in Ohineakai. In this Project, the 1970s transcustomary Maori art precedents were extended with non-customary form and practice. The thesis employs tataitanga kaupapa toi as a paradigm for Maori cultural relativity and relevance en-framing form, content and genealogy. Annexed to this paradigm are a range of methods: a tataitanga reo method for interpreting Maori language texts; a tataitanga korero method, conjoining a kaupapa Maori and an iconographic approach, for interpreting meaning in tribal visual culture, and a tataitanga whakairo method, incorporating stylistic analysis as formal sequence, semiology and intrinsic perception, for analysing a continuum of stylistic development from the Rawheoro School of carving to the Taharora Project. The Taharora Project constitutes the case study where tribal visual culture and contemporary art within tribal environments are contextualised in a trans-cultural continuum. The critical question that underpins this thesis is how do form, content and genealogy contribute to art that resonates with Maori? The thesis concludes that trans-cultural practice in contemporary art can resonate with Maori if the art maintains visual correspondence or visual empathy with customary tribal form. In their absence, cultural resonance can be achieved through a grounding of the content, informing the art, in a paradigm of Maori cultural relativity and relevance, a tataitanga kaupapa toi. The genealogy of the artist is a further determinant for resonance.

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Woods-Jack, Virginia. „The empty portrait : encounters with a photographer : an exegesis presented in partial fulfilment of the requirements for the degree of Masters of Fine Arts, Massey University, Wellington, New Zealand“. Massey University, 2009. http://hdl.handle.net/10179/963.

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The Empty Portrait forefronts a new experience of the portrait for all participants involved: the photographer, the subject, and the viewer. Breaking away from the camera, the materiality of the photograph, and the portrait as a locus of identity are central aspects of this new experience. As it challenges the relationship between photography and temporality, The Empty Portrait attempts to blur the boundary between the photographic and cinematic image, asking the viewer to look and contemplate further.

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Caudwell, Catherine Barbara. „Failure for dummies : intersections in emotive objects, busy women and meaningful pursuits : a thesis presented in partial fulfilment of the requirements for the degree of Master of Fine Arts at Massey University, Wellington, New Zealand“. Massey University, 2010. http://hdl.handle.net/10179/1268.

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This extended essay explores a historical investigation into the connections between women and machines, particularly focusing on the traditionally gendered processes of sewing, weaving and other processes deemed ‘handicrafts’ and how they parallel techniques in the evolution of the technologies we recognise today. Within this relationship, the nature of these acts to provide comfort is investigated and related to the practice of art making. This historical lineage is examined in the present day where digital and electronic technologies impact everyday life and cause new a brand of anxieties that require a fresh approach to healing and soothing. Through the analysis of this research my practical input and output are informed and result in the development of an installation of objects that examine the electronic object and how it can be imbued with or reflect these realities.

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Jacobson, Shelley. „Temporal landscapes : a thesis presented in partial fulfilment of the requirements for the degree of Master of Fine Arts at Massey University, Wellington, New Zealand“. Massey University, 2009. http://hdl.handle.net/10179/907.

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Temporal Landscapes is a research project concerned with culture-nature relations in the context of contemporary industrial land use in New Zealand; explored visually through the photographic representation and presentation of gold mining sites – former, current and prospective – in the Hauraki region. In the current period of industrial capitalism, featuring the mass exploitation of natural resources, nature is commonly thought of as subservient to humankind. This stance, with its origin in scientific ideology of the 17th Century, is interesting to consider in relation to contemporary notions of landscape, and the ‘ideal’ in nature. In New Zealand, a balance is being sought between interests of sustainability and conservation, and of industry and economy. This is not to say that industry opposes environmental safeguards; in contrast, sustainable management including the rehabilitation of land post-industrialisation is integral to modern mining practice in New Zealand. With this emphasis on controlled industrial progress, two key factors emerge. Firstly, this level of control implicates itself as a utopian vision, and secondly, industrialisation is advocated as a temporary situation, with industrial land as transitory, on the path to rehabilitation. The research question of Temporal Landscapes asks; in considering contemporary industrial land use in New Zealand within a utopian framework – focussing specifically on gold mining in the Hauraki Region – has our ideal in nature become that of a controlled, even post-industrial, landscape? The photographic representation of these sites offers a means to explore and express their visual temporality. With the expectation of industrial sites as fleeting and rehabilitated sites as static utopias, it would seem that this industrial process is a kind of contemporary ideal. Presented as a flickering projection piece, 23 Views. (Prospective gold mining site, Golden Valley, Hauraki, 2008 / Martha gold mine and Favona gold mine, Waihi, Hauraki, 2008), and a set of selectively lit prints, Untitled I. (Garden, pit rim walkway, Martha gold mine, Waihi, Hauraki, 2008), Untitled II. (View of pit, former Golden Cross gold mine, Waitekauri Valley, Hauraki, 2008), and Untitled III. (View of water treatment pond, former Golden Cross gold mine, Waitekauri Valley, Hauraki, 2008), they act as landscapes of partial comprehension.

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Ivory, Andrew John. „Street photography in the Google age : written component presented in partial fulfilment of the requirements for the degree of Master of Fine Arts at Massey University, Wellington, New Zealand“. Massey University, 2010. http://hdl.handle.net/10179/1309.

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The role and position of the documentary street photographer is examined in the context of other forms of contemporary visual survey, including Google Street View. The Street View methodology is critically examined and related to the methodologies of other visual artists, including street photographers Peter Black and Robert Frank. Comparisons are drawn between the methodological restrictions imposed by Street View and those imposed by the photographers in the course of their practice. The issue of authorship is discussed and the lack of specific authorship of Street View is related to its inability to augment the viewer's personal sense of space. Wainuiomata, a suburb of Hutt City in Wellington, New Zealand, is introduced as a location for the author's research into how documentary photography might operate. The author's own phenomenological history is considered, and it is proposed that Wainuiomata may act as a mirror which reflects a sense of place derived from personal history, triggered by the visual landscape. The author's installation work The 1 p.m. Project is discussed and contextualised as a response to the author's research findings.

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McGrath, Shane Michael. „Making as a tool of self-examination and search for meaning : sifting through remaining residue as the tide of faith ebbs away : an exegesis presented with exhibition as fulfilment of the requirements for thesis Master of Fine Arts at Massey University, Wellington, New Zealand“. Massey University, 2010. http://hdl.handle.net/10179/1311.

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At the commencement of this thesis I saw myself standing at the outer limits of my knowledge with my nose pressed against a wall of demarcation. This wall was built from my willingness to tolerate systems of control in silence and from my unwillingness to make my beliefs and personal convictions known. I set out at the start of this journey with two intentions. I want to raise my voice because I didn’t want to pretend about my faith anymore. And for the first time use my art practice as a mouthpiece to tell these truths.

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Trevelyan, Peter Ross. „Formal confusion: virtuality and utopian space : an exegesis presented with exhibition as fulfillment of the requirements for thesis, Master of Fine Arts at Massey University, Wellington, New Zealand“. Massey University, 2008. http://hdl.handle.net/10179/867.

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This exegesis details an investigation into the history and evolution of certain technologies, (binary coding, Platonic cosmology, and the linear perspective system) and the extent to which these technologies have distorted or appropriated our perceptions of reality. Special attention is paid to logical inconsistencies in apparently logical systems. The investigation focuses on the purportedly utopian applications of these technologies and the discrepancies that inevitably occurred whenever these ordered systems confronted the chaotic ‘real’ world. Information gleaned from this research then informs an analysis of methods for incorporating these concepts into the author’s installation practice. An explication of recent drawing practice and its reconciliation with installation work will account for and inform a recounting of practical experimentation dealing with form and materials.

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Bücher zum Thema "Visual Arts and Crafts Studies"

White, Antony. Furniture & furnishings: A visual guide. New York, NY: Design Press, 1990.

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Council, California Arts. 23P: California Arts Council visual arts fellowship recipients 1998-1999. Sacramento, Calif: California Arts Council, 1999.

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Prosser, Gary. Visual & craft artists: A national study of the Australian crafts and visual arts industry. Redfern, NSW: Australia Council, 1989.

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Northamptonshire County Council. Education and Community Learning. A visual arts & Crafts Strategy for Northamptonshire: Draft for public consultation. Northampton: Northamptonshire County Council, 1998.

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Welchman, John C. Modernism relocated: Towards a cultural studies of visual modernity. St. Leonards, NSW, Australia: Allen & Unwin, 1995.

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Reader, Paul. Visual Narrative Inquiry in Eco-Arts and Place Studies. 1 Oliver’s Yard, 55 City Road, London EC1Y 1SP United Kingdom: SAGE Publications, Ltd., 2017. http://dx.doi.org/10.4135/9781473999206.

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Theorizing visual studies: Writing through the discipline. New York: Routledge, 2013.

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Lydiate, Henry. Visual arts and crafts guide to the new laws of copyright and moral rights. London: Brittania, 1991.

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Group, Peat Marwick Consulting. Studies in Canadian export opportunities in the U.S. market: Arts and Crafts. Ottawa, Ont: Dept. of External Affairs = Ministère des affaires extérieures, 1989.

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Grenfell, Michael. Art rules: Pierre Bourdieu and the visual arts. Oxford: Berg, 2007.

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Buchteile zum Thema "Visual Arts and Crafts Studies"

Irwin, Rita L., und F. Graeme Chalmers. „Experiencing the Visual and Visualizing Experiences“. In Arts Education and Curriculum Studies, 51–67. New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315467016-6.

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Bitar, Amer. „An Overview of Visual Leadership Studies“. In Palgrave Studies in Business, Arts and Humanities, 41–69. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-57397-3_2.

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Mitchell, Claudia, Katie MacEntee, Mary Cullinan und Patti Allison. „Working with Photographs: Seeing, Looking, and Visual Representation as Professional Learning“. In Studies in Arts-Based Educational Research, 35–54. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-97106-3_3.

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Karlsson, Marie Bendroth. „Pictures of Spring: Aesthetic Learning and Pedagogical Dilemmas in Visual Arts“. In Educational Encounters: Nordic Studies in Early Childhood Didactics, 85–104. Dordrecht: Springer Netherlands, 2011. http://dx.doi.org/10.1007/978-94-007-1617-9_5.

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Lasczik Cutcher, Alexandra. „Collaboration as Individual Learning Event: Collective Consciousness and Shared Practice in the Development of Pedagogical Content Knowledge in Visual Arts Pre-Service Teachers“. In Studies in Arts-Based Educational Research, 151–70. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-61560-8_9.

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Brown, Neil C. M. „The Meta-representation of Standards, Outcomes and Profiles in Visual Arts Education“. In Studies in Philosophical Realism in Art, Design and Education, 147–61. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-42906-9_11.

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Brown, Neil C. M. „Distinguishing Artistic from Vernacular Performances in the Visual Arts: A Classroom Perspective“. In Studies in Philosophical Realism in Art, Design and Education, 179–87. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-42906-9_13.

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Brown, Neil C. M. „Theoretical Perspectives: Research into Children’s Cognition and Knowledge in the Visual Arts“. In Studies in Philosophical Realism in Art, Design and Education, 57–63. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-42906-9_5.

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Diebold, William J. „The New Testament and the Visual Arts in the Carolingian Era, with special reference to the sapiens architectus (I Cor. 3. 10)“. In Medieval Church Studies, 141–53. Turnhout: Brepols Publishers, 2003. http://dx.doi.org/10.1484/m.mcs-eb.3.3561.

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Scarpa, Riccardo, Gemma Sirchia und Marina Bravi. „Kernel vs. Logit Modeling of Single Bounded CV Responses: Valuing Access to Architectural and Visual Arts Heritage in Italy“. In Studies in Risk and Uncertainty, 233–44. Boston, MA: Springer US, 1998. http://dx.doi.org/10.1007/978-1-4615-5741-8_12.

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Konferenzberichte zum Thema "Visual Arts and Crafts Studies"

Mostitskaya, Natalia. „The Arts and Crafts Linguistic Properties within the Communicative Context of the Conviviality Culture“. In 2017 International Conference on Art Studies: Science, Experience, Education (ICASSEE 2017). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-17.2018.37.

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Sapp, Benjamin, Rizwan Chaudhry, Xiaodong Yu, Gautam Singh, Ian Perera, Francis Ferraro, Evelyne Tzoukermann, Jana Kosecka und Jan Neumann. „Recognizing manipulation actions in arts and crafts shows using domain-specific visual and textual cues“. In 2011 IEEE International Conference on Computer Vision Workshops (ICCV Workshops). IEEE, 2011. http://dx.doi.org/10.1109/iccvw.2011.6130435.

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Feng, Bai. „Semantic Classification and Retrieval Method of Arts and Crafts Images Based on Visual Feature Analysis“. In 2019 International Conference on Intelligent Transportation, Big Data & Smart City (ICITBS). IEEE, 2019. http://dx.doi.org/10.1109/icitbs.2019.00152.

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Wang, Xinxin. „Research on the Design and Development of Festival Cultural Derivatives from the Perspective of Arts and Crafts“. In Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icassee-19.2019.40.

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NEIRA, Luz García, und Sarah WAIN. „Teaching arts and crafts or the technology transfer: Ernest Bower and textile design practice in Brazil“. In Design frontiers: territories, concepts, technologies [=ICDHS 2012 - 8th Conference of the International Committee for Design History & Design Studies]. Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/design-icdhs-017.

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Guimerans, Paola. „Creative Soft Circuits: Introducing Soft Circuits Kits As A Tool To Engage Children Into Educational Arts And Crafts“. In 2nd International Conference of Art, Illustration and Visual Culture in Infant and Primary Education. São Paulo: Editora Edgard Blücher, 2015. http://dx.doi.org/10.5151/edupro-aivcipe-68.

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Prakoso, Sebastian Gary. „Understanding the Urban Arts in Visual Communication Visual Communication on Mural Created by Polo Triuns“. In International Conference on Media and Communication Studies(ICOMACS 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icomacs-18.2018.9.

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Al Qur’an, Hussam A. Darwish. „The Role of Talent and Skill in Visual Communication Design Education/Practice: Three Case Studies from Jordan“. In International Conference on Arts and Humanities. The International Institute of Knowledge Management, 2020. http://dx.doi.org/10.17501/23572744.2019.6106.

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Stupin, Sergei Sergeevich. „The Tendency Towards Complicating Anthropologically Significant Elements of the Visual Form in the Fine Arts of the XX-XXI Centuries“. In Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icassee-19.2019.2.

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Maras, Karen. „This time without ‘feeling’: Children’s intuitive theories of art as a logical basis for learning progression in visual arts“. In Research Conference 2021: Excellent progress for every student. Australian Council for Educational Research, 2021. http://dx.doi.org/10.37517/978-1-74286-638-3_3.

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Annotation:

Learning in Visual Arts has traditionally been framed as an experiential process in which feeling and intuition complement the development of aesthetic knowledge. However, while art can be about feelings and processes that develop students’ expressive capacities, the complexity of art understanding and thinking extends beyond this narrow common-sense assumption. I argue that this assumption, which is represented in the Australian Curriculum: The Arts (ACARA, 2015), and even more firmly resonates in recent proposals for the revision of this curriculum (ACARA, 2021), obfuscates the conceptual and theoretical bases on which students make progress in art understanding. This paper examines the proposition that art understanding emerges progressively and can be described in conceptual terms, the basis of which can be identified in empirical research on the emergence of children’s intuitive theories of art. This paper examines how selected studies articulate the cognitive grounds on which students’ ontologies of art and epistemological beliefs are represented in their reasoning about art over time. It is argued that an empirically supported conception of learning anchored in students’ cognitive development in art that recognises the theoretical commitments underscoring their conceptual and practical reasoning in visual arts practices K–12 provides a logical basis for articulating progression in the subject.

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