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Journal articles on the topic 'Art material'

Author: Grafiati

Published: 30 June 2021

Last updated: 1 February 2022

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1

Zetina Ocaña, Sandra, Elsa Minerva Arroyo Lemus, Tatiana Falcón Álvarez, and Eumelia Hernández Vázquez. "La dimensión material del arte novohispano." Intervención Revista Internacional de Conservación Restauración y Museología 1, no. 1 (May 1, 2010): 17–29. http://dx.doi.org/10.30763/intervencion.2014.10.120.

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2

Schmidt, Filipp. "The Art of Shaping Materials." Art and Perception 8, no. 3-4 (October 28, 2019): 407–33. http://dx.doi.org/10.1163/22134913-20191116.

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Material perception — the visual perception of stuff — is an emerging field in vision research. We recognize materials from shape, color and texture features. This paper is a selective review and discussion of how artists have been using shape features to evoke vivid impressions of specific materials and material properties. A number of examples are presented in which visual artists render materials or their transformations, such as soft human skin, runny or viscous fluids, or wrinkled cloth. They achieve this by expressing the telltale shape features of these materials and transformations, often by carving them from a single block of marble or wood. Vision research has just begun to investigate these very shape features, making material perception a prime example of how art can inform science.

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3

Grigorova, Yana. "Art and “non-material labour»." Bulletin of PNRPU. Culture. History. Philosophy. Law, no. 4 (2017): 69–73. http://dx.doi.org/10.15593/perm.kipf/2017.4.08.

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4

Brett, David. "Art and Society: Material Evidence." Circa, no. 62 (1992): 20. http://dx.doi.org/10.2307/25557713.

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5

Gudeman, Stephen. "Epilogue: Art and Material Culture." Museum Anthropology 16, no. 3 (October 1992): 58–61. http://dx.doi.org/10.1525/mua.1992.16.3.58.

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6

Krispinsson, Charolotta. "Temptation, Resistance, and Art Objects: On the Lack of Material Theory within Art History before the Material Turn." Artium Quaestiones, no. 29 (May 7, 2019): 5–23. http://dx.doi.org/10.14746/aq.2018.29.1.

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Niccolò di Pietro Gerini's painting “The Temptation of Saint Anthony” (1390-1400) serves as a point of departure for this essay. It depicts Saint Anthony during a lapse of self-control as he attempts to resist an alluring mound of gold. Since the mound is in fact made of genuine gold leaves applied to the painting's surface, it works both as a representation of temptation as well as an object of desire affecting the beholder. The aim of this essay is to explore different approaches to materiality before the material turn within the art history discipline by examining two opposing directions within the writing and practice of art history: the tradition of connoisseurship; and the critique of the fetish within the theoretical apparatus of new art history and visual culture studies of the 1980s and 90s. As an expression of positivism within art history, it is argued that connoisseurship be considered within the context of its empirical practices dealing with objects. What is commonly described as the connoisseur's “taste” or “love for art” would then be just another way to describe the intimate relationship formed between art historians and the very objects under their scrutiny. More than other humanist disciplines, art history is, with the possible exception of archaeology, an object-based discipline. It is empirically anchored in the unruly, deep sea of objects commonly known as the history of art. Still, there has been a lack of in-depth theoretical reflection on the materiality of artworks in the writings of art historians before the material turn. The question however, is not ifthis is so, but rather, why?In this essay, it is suggested that the art history discipline has been marked by a complicated love-hate relationship with the materiality of which the very objects of study, more often than not, are made of; like Saint Anthony who is both attracted to and repelled by the shapeless mass of gold that Lucifer tempts him with. While connoisseurship represents attraction, resistance to the allure of objects can be traced to the habitual critique of fetishism of the first generations of visual culture studies and new art history. It reflects a negative stance towards objects and the material aspect of artworks, which enhanced a conceived dichotomy between thinking critically and analytically in contrast to managing documents and objects in archives and museum depositories. However, juxtaposing the act of thinking with the practice of manual labour has a long tradition in Western intellectual history. Furthermore, it is argued that art history cannot easily be compared to the history of other disciplines because of the simple fact that artworks are typically quite expensive and unique commodities, and as such, they provoke not just aesthetic but also fetishist responses. Thus, this desire to separate art history as a scientific discipline from the fetishism of the art market has had the paradoxical effect of causing art historians to shy away from developing methodologies and theory about materiality as an act of resistance.

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Hainge, Greg. "Art Matters: Philosophy, Art History and Art’s Material Presence." Culture, Theory and Critique 57, no. 2 (May 3, 2016): 137–41. http://dx.doi.org/10.1080/14735784.2016.1161903.

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Dahlia W. Zaidel. "Art in Early Human Evolution: Socially Driven Art Forms versus Material Art." Evolutionary Studies in Imaginative Culture 1, no. 1 (2017): 149. http://dx.doi.org/10.26613/esic.1.1.22.

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Zaidel, Dahlia W. "Art in Early Human Evolution: Socially Driven Art Forms versus Material Art." Evolutionary Studies in Imaginative Culture 1, no. 1 (July 31, 2017): 149–58. http://dx.doi.org/10.26613/esic/1.1.22.

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10

Li, Ming Juan. "On the Discussion of Abstract Form and Art Empathy of the Ramie Materials in Modern Fiber Art." Applied Mechanics and Materials 644-650 (September 2014): 4844–47. http://dx.doi.org/10.4028/www.scientific.net/amm.644-650.4844.

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form and Art Empathy of the Ramie Materials in Modern Fiber ArtLi Mingjuan,FangZhi Road, Wuhan City, Hubei Province, China, Art and Design College of Wuhan Textile University78207664@QQ.comKeywords: Modern fiber art, Ramie fiber, Abstract form, Empathy manifestationAbstract. Fiber art is both a traditional art and modern art, while the material is the first language for fiber art,since the material is the basis of fiber art, which is also the carrier of fiber art and the external materialized result of fiber language.With the development of modern fiber materials are becoming increasingly rich, the new materials bring the fiber art new opportunities for its development. This paper is based on the importance of the materials on fiber art, taking it as the cutting point, using the double-sided description of ramie fiber material, discussing the performance of empathy and abstract form of ramie fiber material, so as to provide references for the creation of textile fiber art .

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11

Yang, Dong, Kun Yuan, and Xiao Dong Liu. "Thinking Development of Fiber Art due to Installation Art." Advanced Materials Research 332-334 (September 2011): 1223–26. http://dx.doi.org/10.4028/www.scientific.net/amr.332-334.1223.

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Although installation art and fiber art are two different modern art categories, as they are both based on sculpt of materials instead of portray, they are usually connected together. With consideration on design, existence form and material concept of installation art, this paper discusses the expansion and performance of these methods in fiber art creation.

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12

Qi, Hao, Juan Li, and Qiao Mei Zhang. "Study on the Jingdezhen Ceramic Materials." Applied Mechanics and Materials 329 (June 2013): 96–100. http://dx.doi.org/10.4028/www.scientific.net/amm.329.96.

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As an ancient creative medium in the traditional Chinese art, ceramic material has a long and glorious history, which is an important part of traditional Chinese cultural resources. Now re-examine the folk art, ceramic materials show understanding of the colorful ceramic material morphology expressive and unique charm of materials technology, the combination of art and technology, the unity of the folk art and ceramic materials. It has become an important issue. Millennium Jingdezhen, for example, this paper studies folk art show in the ceramic material.

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13

Fritts, Lauren. "Knolling: The Art of Material Culture." Art Education 72, no. 1 (December 11, 2018): 50–58. http://dx.doi.org/10.1080/00043125.2019.1537670.

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Bier, Carol. "Art: crafts, technology, and material culture." Iranian Studies 31, no. 3-4 (September 1998): 349–59. http://dx.doi.org/10.1080/00210869808701915.

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Pénzes, Ingrid, Susan van Hooren, Ditty Dokter, Henk Smeijsters, and Giel Hutschemaekers. "Material interaction in art therapy assessment." Arts in Psychotherapy 41, no. 5 (November 2014): 484–92. http://dx.doi.org/10.1016/j.aip.2014.08.003.

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16

Trouton, Lycia. "Castaways: Art from the Material World." TEXTILE 19, no. 3 (April 19, 2021): 301–9. http://dx.doi.org/10.1080/14759756.2021.1891677.

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17

Franinović, Karmen, and Roman Kirschner. "Material Activity in Art and Design Practices." Zeitschrift für Kunstgeschichte 83, no. 3 (September 25, 2020): 310–19. http://dx.doi.org/10.1515/zkg-2020-3002.

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AbstractThe theoretical movement of New Materialisms claims that society has to think differently about the way it treats our common material environment. The conception of matter as something active and transforming is at the core of these proposed changes. But in order to have an impact, conceptual frameworks must be accompanied by materially engaged practices. Recently, art and design projects have started bringing attention to active aspects of materials and environments. Our own research – in projects such as Enactive Environments and Liquid Things – concerns itself with chemical and biological processes, temporal aspects, and the openness of materials to environmental unpredictabilities.

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18

Werdiningtiyas, Ratih Kartika, and Denna Delawanti Chrisyarani. "Workshop Tari Anak di SD Negeri Sudimoro 01 Kecamatan Bululawang Kabupaten Malang." AKSIOLOGIYA : Jurnal Pengabdian Kepada Masyarakat 1, no. 2 (June 15, 2017): 97. http://dx.doi.org/10.30651/aks.v1i2.840.

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SDN Sudimoro 1 Bululawang subdistrict has not done extracurricular activities of dance art, from some guardians initiative to involve his children to follow the dance and dance arts in the local dance studio. At the time of art performances, the school finds it difficult to find a dance coach because of the lack of coaches, locations that are too far from the citizens and lack of material about children's dance. Based on the condition of SDN Sudimoro 1, it is very important to be held about dance training for elementary school students, especially low grade. This devotional activity is held five days, the first day of delivery of basic ant dance material, second day until the five participants perform the practice of motion variety of ant dance along with the floor pattern. The purpose of the workshop is to improve students' ability in maximizing the use of ant dance as a suitable learning in dance, developing and creating cultural art learning materials, especially dance art related to the concept, and improving students ability and skill.

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19

Zein, Azza. "Rematerialization, Art, and Affective Economies." Kohl: A Journal for Body and Gender Research 5, Summer (June 1, 2019): 118–31. http://dx.doi.org/10.36583/2019050210.

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The paper highlights artworks that engage with materials to comment on the dematerialization of the economy and the invisibility of labour. The emphasis is on artworks which disturb these conditions through a process of rematerialization, defined as “attending to materials.” How to revalue what has been dematerialized, devalued, or deemed invisible? To revalue invisible labour is to find a material that can engage with the affective relation surrounding labour and space, a material that can experience the invisibility rather than represent it. By correspondences of materials, actions and the body, the artworks counter abstraction and standardized value. One can identify across diverse contemporary artworks parallel forms of rematerialization through tasks. Tasks are free from the hegemony in the binary of work vs. leisure and productive notions of land and labour. The geographically dispersed artistic examples present a possible process of revaluation rather than mere critique of value. These examples are compared against twentieth century artworks considered critique of standardized value. With the help of affect theories, the paper argues that such rematerialization through care and attention may offer a “reparative” process that posits an alternative to exposing economic structures.

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20

Tian, Ya Zhou, and Xu Jun Tian. "On the Language Performance of Composite Materials in the Art." Advanced Materials Research 530 (June 2012): 14–18. http://dx.doi.org/10.4028/www.scientific.net/amr.530.14.

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The art is inextricably linked with the material and the process. The material is rapidly changing with the advancements of the modern technology, and it changes and refreshes people's views on the art. Many artists have realized that the material is not just a medium of artistic expression, but the language of the art. The modern art, not limited to the only way of presentation through the traditional material, conveys the artist's view of life and the world through the integrated use of materials combined with modern ideas and concepts, which has made the language of the material itself being cultivated and transformed. Hence the works of art are in great vitality through the release of the material's own natural force and creativity.

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21

Kim, Yangja. "A Study on the Environmental Conditions for Art Material Supply in Art Therapy: With a Focus on the Amounts of Art Materials." Journal of Humanities and Social sciences 21 10, no. 6 (December 31, 2019): 1299–308. http://dx.doi.org/10.22143/hss21.10.6.96.

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22

TOSA, Masahiro, and Kazuhiro YOSHIHARA. "Extremely-High Vacuum Station for Material Art." SHINKU 35, no. 6 (1992): 588–93. http://dx.doi.org/10.3131/jvsj.35.588.

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23

McGrath, Mary. "Material Matters: The Conservation of Modern Art." Circa, no. 109 (2004): 50. http://dx.doi.org/10.2307/25564183.

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24

Kelomees, Raivo. "Discussing five issues of post-material art." Technoetic Arts 14, no. 3 (December 1, 2016): 251–62. http://dx.doi.org/10.1386/tear.14.3.251_1.

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25

Austen, Kat. "Mathematics as the raw material for art." New Scientist 212, no. 2838 (November 2011): 52. http://dx.doi.org/10.1016/s0262-4079(11)62800-5.

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26

Adamson, Natalie, and Steven Harris. "Material Imagination: Art in Europe, 1946-72." Art History 39, no. 4 (August 15, 2016): 640–53. http://dx.doi.org/10.1111/1467-8365.12265.

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27

Thompson, Barbara. "Material Differences: Art and Identity in Africa." African Arts 36, no. 3 (October 1, 2003): 80–96. http://dx.doi.org/10.1162/afar.2003.36.3.80.

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28

Gursu, Sarper, Timur Yildirim, Vedat Sahin, and Emine Koc. "Art in Science: Orthopaedics Through Philatelic Material." Clinical Orthopaedics and Related Research® 471, no. 12 (September 27, 2013): 3755–59. http://dx.doi.org/10.1007/s11999-013-3280-4.

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29

CANPOLAT, AYŞE. "USE OF CLAY MATERIAL IN PROCESS ART." TURKISH ONLINE JOURNAL OF DESIGN ART AND COMMUNICATION 11, no. 3 (July 1, 2021): 786–96. http://dx.doi.org/10.7456/11103100/003.

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30

Hoyer, Rüdiger. "Problems of electronic art reference." Art Libraries Journal 26, no. 3 (2001): 24–26. http://dx.doi.org/10.1017/s0307472200012293.

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This paper evaluates the access provided to electronic reference material in art libraries in Germany and elsewhere. The extremely heterogenous state of education and knowledge concerning these materials is discussed, both from the point of view of library staff and that of the specialised public. Finally a proposal is formulated for a co-operative way of giving access to at least the metadata of these resources, and for their thematic indexing.

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31

Kember, Pamela, Chantal Wong, Claire Hsu, and Hammad Nasar. "Asia Art Archive." Art Libraries Journal 39, no. 2 (2014): 5–9. http://dx.doi.org/10.1017/s0307472200018241.

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Asia Art Archive was established in 2000 in Hong Kong to document and secure the multiple recent histories of contemporary art in the region. Built through a systematic programme of research and information gathering, it is widely regarded as one of the world’s leading public collections of primary and secondary source material about contemporary art in Asia, comprising hundreds of thousands of physical and digital items, searchable via its online catalogue. A growing selection of digitised material is now also available in the Collection Online.

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32

Wiersma, Lisa. "‘Colouring’ — Material Depiction in Flemish and Dutch Baroque Art Theory." Art and Perception 8, no. 3-4 (October 28, 2020): 243–65. http://dx.doi.org/10.1163/22134913-bja10005.

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Seventeenth-century painters were masters at painting objects and beings that seem tangible. Most elaborate was painting translucent materials like skins and pulp: human flesh and grapes, for instance, require various surface effects and suggest the presence of mass below the upper layers. Thus, the viewer is more or less convinced that a volume or object is present in an illusionary space. In Dutch, the word ‘stofuitdrukking’ is used: expression or indication of material, perhaps better understood as rendering of material. In English, ‘material depiction’ probably captures this painterly means best: it includes rendering of surface effects, while revealing the underlying substance, and it implies that weight and mass are suggested. Simple strokes of paint add up to materials and things that are convincingly percieved. At first glance, material depiction hardly seems a topic in early-modern art theory, yet 17th-century painters are virtually unequalled as regards this elaborate skill. Therefore, 17th-century written sources were studied to define how these might discuss material depiction, if not distinctly. This study concerns one of many questions regarding the incredible convincingness of 17th-century material depiction: besides wondering why the illusions work (Di Cicco et al., this issue) and how these were achieved (Wiersma, in press), the question should be asked why this convincingness was sought after. Was it mere display of ability and skill? And how was material depiction perceived, valued and enjoyed? First, contemporary terminology is determined: the seemingly generic term ‘colouring’ signified the application of convincing material depiction especially — which is not as self-evident as it sounds. Second, and extensively, the reader will find that convincing or appealing material depiction was considered a reference to religion and natural philosophy.

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33

CLUNAS, CRAIG. "Connected Material Histories: A response." Modern Asian Studies 50, no. 1 (January 2016): 61–74. http://dx.doi.org/10.1017/s0026749x15000487.

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In giving the very first lecture that first-year History of Art undergraduates at Oxford will hear, I usually employ the practice of giving them a sheet of paper with nothing on it but the outlines of the land masses of the globe, and ask them to draw a line round ‘the West’. The idea was inspired by a reading of Lewis and Wigen's 1997 bookThe Myth of Continents(‘justly celebrated’, as Sanjay Subrahmanyam says), and remains a useful pedagogic act, up to a point, for the reasons so clearly laid out in that book; also, it breaks the ice, it gets a buzz of conversation going in the room, it certainly foregrounds the topic, central now to art historical enquiry, of the way in which ‘representations are social facts’. But the reason I do not ask them to draw a map round ‘the East’ is that I suspect it would be too easy, or at least done too quickly, and indeed the boundaries of both ‘East’ and ‘Orient’, as ‘Europe's Other’, can be shown to have fluctuated much less than have the boundaries of what, for most Oxford students, is still, if somewhat tenuously, ‘us’ or ‘here’. Wherever ‘the East’ is, it all lies (as Subrahmanyam points out in his lecture) in that assuredly -etic part of the world called Asia. I might, in the privacy of my own hard drive, choose to categorize those European images which I need for teaching as ‘Non-Eastern’ (to balance the ‘Non-Western’ rubric on which my specialist options appear in the syllabus). But that is not a category widely used, or at least not in my own discipline of art history.

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34

Harrod, Tanya. "‘Visionary rather than practical’: craft, art and material efficiency." Philosophical Transactions of the Royal Society A: Mathematical, Physical and Engineering Sciences 371, no. 1986 (March 13, 2013): 20110569. http://dx.doi.org/10.1098/rsta.2011.0569.

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Emotional responses to materials and manufactured objects have a long history but provoked vivid writing during the design reform debates of the nineteenth century and were carried forward into the twentieth century. In particular, nineteenth-century anxieties about plasticity and about composite materials are still with us. Wood continues to represent sustainability, ‘truth to materials’, emotional durability and an assumed reassuring contact between material, tools and maker. By contrast, the facture offered by new media, in the form of self-replicating rapid prototyping machines, appears disembodied while also offering the possibility of homesteader-making. The desirability of recycling and up-cycling is currently central to our emotional responses to materials, with the world’s waste dumps becoming sites of horrified fascination and inspiration. Symbolic moves in the direction of autarchy and reverse engineering by artists and designers register doubts about sustainability and seek to uncover the hidden impact of individual materials. This survey of historic and current attitudes towards materials and making processes by makers, artists and designers sheds light on anxieties familiar to us all, concerning technological development, authentic experience, agency, a sense of selfhood and the often bruising experience of modernity itself.

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35

Lee, Im Sue. "Democracy for PAD/D and Group Material: Activism and Participation in Art." Journal of the Association of Western Art History 51 (August 31, 2019): 181–206. http://dx.doi.org/10.16901/jawah.2019.08.51.181.

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36

Meconi, Honey. "Art-Song Reworkings: An Overview." Journal of the Royal Musical Association 119, no. 1 (1994): 1–42. http://dx.doi.org/10.1093/jrma/119.1.1.

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Broadly speaking, we can divide Renaissance polyphony into five groups: works not using any pre-existent material, and pieces based on sacred monophony, secular monophony, sacred polyphony or secular polyphony. This is not the common way to classify Renaissance compositions. The more normal breakdown is by the technique applied to the pre-existent material – cantus firmus, paraphrase, parody – regardless of what that material was. Yet much is to be gained by starting with the original material, and that was, after all, what the composer probably did at least some of the time.

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Bojesen, Benedicte. "Art Libraries in Denmark." Art Libraries Journal 11, no. 3 (1986): 16–19. http://dx.doi.org/10.1017/s0307472200004740.

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A number of public libraries in Denmark have acquired original prints or other works of art since the Danish Library Act of 1964, but only some lend pictures to individuals. Special art departments, bringing together literature, pictures, and other material, have been created in a few major libraries. Art exhibitions are an important activity undertaken by libraries as part of their role of making art accessible to the public. (Originally published in Scandinavian Public Library Quarterly, v. 18 n.4 1985).

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Burr, Kristin L. "Medieval Romance and Material Culture ed. by Nicholas Perkins." Arthuriana 26, no. 1 (2016): 204–5. http://dx.doi.org/10.1353/art.2016.0002.

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Greenhalgh, Paul. "The art library – a moving target." Art Libraries Journal 20, no. 2 (1995): 13–17. http://dx.doi.org/10.1017/s0307472200009305.

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Art libraries are plural entities in that they have multiple functions and serve a variety of users. In the United Kingdom, as elsewhere, academic art libraries provide visual resources for artists and art students; they also provide a wide range of texts for students of increasingly specialised branches of the history of art and design and of ‘visual studies’. Their librarians should collaborate with academic colleagues to develop the library to serve the institution’s needs; at the same time the institution should recognise the role of the library. The broader spectrum represented by the ‘new art history’ challenges the art library to widen its scope, although this must be done through networking as well as by means of collection development. Scholars realise that they must generally expect to have to go to the major libraries and archives for primary source material, although smaller art libraries often have valuable materials and some scholars might be encouraged to share their own research collections through the libraries of their institutions. Information technology has become the key to tracing material, but is no substitute for direct interaction with the materials themselves.

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40

Pénzes, Ingrid, Susan van Hooren, Ditty Dokter, Henk Smeijsters, and Giel Hutschemaekers. "Material interaction and art product in art therapy assessment in adult mental health." Arts & Health 8, no. 3 (October 16, 2015): 213–28. http://dx.doi.org/10.1080/17533015.2015.1088557.

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41

Huo, Mei Lin. "Research on Recycled Materials in Public Art." Applied Mechanics and Materials 329 (June 2013): 71–74. http://dx.doi.org/10.4028/www.scientific.net/amm.329.71.

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Public art" of the recycled material in the context of globalization is formed under modern ecological concepts, environmental movement, and artistic experiments together. It will change the status quo of the lack of dialogue between materials science with art, recycled materials from the point of view of public art, research and development, and applications make proactive in environmental design. In this study, "renewable materials" mainly focused on the public art materials field, its scope and methods of public art. Recycled materials include not only well-known natural renewable materials, but also include man-made biodegradable materials and life industrial recycled materials, which greatly enriched the scope of public art materials, and reflect the public geographical characteristics and diversity of the arts.

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42

Bera, Chandan, Stephane Jacob, Ingo Opahle, N. S. Harsha Gunda, Radoslaw Chmielowski, Gilles Dennler, and Georg K. H. Madsen. "Integrated computational materials discovery of silver doped tin sulfide as a thermoelectric material." Phys. Chem. Chem. Phys. 16, no. 37 (2014): 19894–99. http://dx.doi.org/10.1039/c4cp02871f.

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43

Barberena, Elsa, and Evelin Garduño Aguilar. "Open access resources for Mexican art." Art Libraries Journal 37, no. 4 (2012): 24–26. http://dx.doi.org/10.1017/s0307472200017703.

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Free and unrestricted access to online educational or scholarly material, without subscription or registration requirements, seeks to eliminate traditional financial, legal and technical barriers. Indeed it provides greater accessibility to scholarly materials, substantially increasing the visibility of research. This article introduces the Mexican open access journals that specialize in art and culture, and analyzes their visibility in the databases of Latin American scholarly journals.

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44

Comay, Rebecca. "Material Remains: Doris Salcedo." Oxford Literary Review 39, no. 1 (July 2017): 42–64. http://dx.doi.org/10.3366/olr.2017.0209.

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Doris Salcedo's artworks seem to confront the challenge that Adorno expressed so brutally: how to commemorate a traumatic event which both demands and refuses commemoration; where all available cultural forms threaten to trivialize, sentimentalize, mystify, embellish, instrumentalize, or otherwise betray the memory of the dead; and where every attempt to acknowledge injury seems only to compound it. On the one hand, it is the task of art to commemorate suffering. On the other hand, art, by its very existence—its status as a thing among things—is complicitous in this suffering. This essay reflects on the antinomies of mourning and politics in Salcedo's work.

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45

Schmidt, Victor. "Dutch art bibliographies." Art Libraries Journal 11, no. 1 (1986): 30–31. http://dx.doi.org/10.1017/s0307472200004491.

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The most important bibliography for Dutch art is the Bibliography of the Netherlands Institute for Art History (Rijksbureau voor Kunsthistorische Documentatie). This bibliography, first published in 1943, is in fact a continuation in another form of H. van Hall, Repertorium voor de geschiedenis der Nederlandsche schilder - en graveerkunst sedert het begin van de 12de eeuw tot het eind van 1932 (Repertory for the history of Dutch painting and engraving since the beginning of the 12th century up till the end of 1932), The Hague 1936 (Vol.2: 1933-1946 appeared in 1949). The last volume published, Vol.16, Part 1: Old Art, comprises the years 1971-1972; Vol.17, Part 1: Old Art, for the years 1973-1974, is in the course of publication. The material for the years after 1974, however, is put on fiches, and can be consulted at the Institute. The last volume published that included material on Dutch 19th-20th century art was Vol. 9 (1957-1958). Material for the years thereafter also can be consulted at the Institute. Address: Prins Willem Alexanderhof 5 (entrance at the fifth floor of the Royal Library), 2595 BE The Hague; tel. 070-471514. Postal address: Post box 90418, 2509 LK The Hague.

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Edwards, K. L. "Materials and design: the art and science of material selection in product design." Materials & Design 24, no. 5 (August 2003): 401–2. http://dx.doi.org/10.1016/s0261-3069(03)00043-8.

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Niinimäki, Kirsi, Camilla Groth, and Pirjo Kääriäinen. "NEW SILK: Studying experimental touchpoints between material science, synthetic biology, design and art." Temes de Disseny, no. 34 (November 26, 2018): 34–43. http://dx.doi.org/10.46467/tdd34.2018.34-43.

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This article presents a study in which new materials are developed through experimental knowledge construction and knowledge exchange between different disciplines. The New Silk research project (2017-2020) is the building block for the research. New Silk aims to produce new types of silk-like materials in the context of synthetic biology. In this article we discuss the initial experimental touchpoints between material science, synthetic biology, design and art encountered during the project’s first year. Firstly, the study shows that shared material experiences in the setting of workshops build foundational understanding of perceived material agency leading to discussion on material activity and research ethics. Secondly, our research identified that all of these disciplines, material science, synthetic biology, design and art, approach materials research through experimental methods, even if the goal of the research differs in each discipline.

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Oztutuncu, Sabriye. "COLLAGE EXAMPLE AS AN ART AND EQUIPMENT MATERIAL." Ulakbilge Dergisi 5, no. 10 (March 31, 2017): 341–52. http://dx.doi.org/10.7816/ulakbilge-05-10-03.

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Kim, Hyang Mi. "Mandala as a Teaching Material in Art Education." KOREA SCIENCE & ART FORUM 9 (December 31, 2011): 61. http://dx.doi.org/10.17548/ksaf.2011.12.9.61.

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Ridgway, Brunilde Sismondo. "Ancient Greek Women and Art: The Material Evidence." American Journal of Archaeology 91, no. 3 (July 1987): 399. http://dx.doi.org/10.2307/505361.

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