Academic literature on the topic 'Photography, Artistic – Exhibitions'
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Journal articles on the topic "Photography, Artistic – Exhibitions"
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Polańska, Anna. "Działania artystyczne w gdańskim środowisku fotograficznym promujące fotografię marynistyczną w latach 1948-1981." Porta Aurea, no. 17 (November 27, 2018): 179–217. http://dx.doi.org/10.26881/porta.2018.17.08.
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With Gdansk artists an approach to the subject of the marine photography, was marked on several levels – artistic, documentary, journalistic and usable. Since 1945 to the first half of the 80s, we notice the popularization of maritime theme in the environment throughout artistic exhibition activities, and the program objectives. Maritime photography or maritime themes in photography? An analysis of the photographic medium in terms of belonging to the art can give the answer to this question. It is also worth considering whether there was „Gdansk School of the Maritime Photography”? The phenomenon of Polish marine art in the case of photography has been strongly emphasized in the Gdansk photography environment. The traditional display of the maritime theme has been broken, and with the approval of the authorities. Shipyard workers and dockers joined to the effigy of the sea people (fishermen, sailors). Photographers began to enter the maritime economy and use the effects of cooperation with maritime institutions for artistic purposes. Thematic exhibitions on shipyards and ports were created showing the sea from a different point of view, from the perspective of land. Socio-political events related to Solidarity stopped the promotion of the sea through the image of a shipyard worker and a shipyard, which became icons of the struggle for freedom. The Gdansk photographic community after the socio-political crisis of the first half of the 1980s, has not yet rebuilt its leading position in the dissemination of the maritime theme in photography on a large scale. Maritime exhibitions still appeared, but mainly on the local level, and the sea was reduced to the landscape understood very traditionally. At the same time photographers of the younger generation were interested in completely different issues of the style and aesthetics of photography. Te slogan „face to the sea” ceased to correspond with new times.
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Wolska, Anna. "HISTORY OF PHOTOGRAPHY ON THE EXAMPLE OF SELECTED PHOTOGRAPHIC TECHNIQUES. A PHOTOGRAPH AS AN OBJECT." Muzealnictwo 61 (August 26, 2020): 192–200. http://dx.doi.org/10.5604/01.3001.0014.3639.
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In the first part of the paper, the focus is on historical and technical aspects of the invention of photography, beginning with the first research works conducted by J.N. Niépce up to the patenting of daguerreotype in 1839 by L. Daguerre. In the further section of the paper emphasis is put on the fast spread of photography; short profiles of the first Polish photographers who contributed to promoting photography: J. Giwartowski, K. Beyer, W. Rzewuski, and M. Strasz, are given. Furthermore, the early-19th-century discourse between the artistic and photographic circles is briefly discussed, with some comments by e.g. E. Delacroix, P. Delaroche, Ch. Baudelaire, L. Daguerre quoted. Subsequently, the early displays of photographs in exhibitions and museums are described, e.g. during the 1851 First World Exhibition in London and at the South Kensington Museum in 1858. What follows this is a presentation of selected photographic techniques, shown against the events related to given inventions, e.g.: daguerreotype, salt print, techniques based on the collodion process, compounds of dichromates and chromates, calotype, cyanotype. Further, source reference is given to describe potential threats related to the degradation, damage, and a possible repair of images recorded in photographs. Another section of the paper is dedicated to presenting artistic movements in photography which formed in the late 19th century. The final part speaks of the questions related to e.g. storage humidity and temperature, display of photographic objects that are in museum collections, and pH of materials and frames; the author also reflects on the need to digitize collections.
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D’Ambrosio, Mariangela, Simona Palladino, and Paola Mitra. "Welfare in-between artistic expressions and communities: Deanna Dikeman's exhibition "Leaving and Waving"." WELFARE E ERGONOMIA 9, no. 1 (August 2023): 75–86. http://dx.doi.org/10.3280/we2023-001006.
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With the intention to investigate the role of photography in addressing social issues and the function that exhibitions play as an engine of collective action, the research focuses on the analysis of Deanna Dikeman's exhibition Leaving and Waving. The photo reportage of nintyeight photographs was conducted over twentyseven years, through which the artist portrayed her parents at the moment of saying goodbye. This is a creative way that captures ageing, death, family bonds, generational relationships, greetings. The study was conducted by administering semi-structured anonymous questionnaires to visitors of three exhibitions in Italy (Campobasso, Rome, Verona) from February until June 2022. The study addresses the role of new social practices and associations, considering family ties in relational and socio-relational Welfare. The social as such is intended strategically to promote individual and collective well-being through artistic expression.
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Botar, Oliver A. I. "László Moholy-Nagy's New Vision and the Aestheticization of Scientific Photography in Weimar Germany." Science in Context 17, no. 4 (December 2004): 525–56. http://dx.doi.org/10.1017/s0269889704000250.
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ArgumentI propose that both Moholy-Nagy's suggestions that products of applied, particularly scientific, photography be employed as exemplars for art photography, and his practice of integrating such applied photographs with art photographs in his publications and exhibitions, laid the groundwork for an aestheticization of scientific photography within the twentieth-century artistic avant-garde. This photographic “New Vision,” formulated in the 1920s, also effected a kind of “scientization” of art photography. Rather than Positivist mechanism, however, I argue that the science at play was “biocentrism,” the early twentieth-century worldview that can be described as Naturromantik updated by biologism. His key inspiration in this regard was one of the most important figures of biocentrism, the biologist and popular scientific writer Raoul Heinrich Francé, and his conception of Biotechnik [bionics], in which he proposed that all human technologies are based in natural technologies.The biological, pure and simple, taken as the guide.– Moholy-Nagy (1938, 198)
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Kobylińska-Bunsch, Weronika. "The Post-War History of Pictorialism as Exemplifi ed by Exhibitions at the Zachęta and the Kordegarda (1953–1970)." Ikonotheka 26 (June 26, 2017): 193–212. http://dx.doi.org/10.5604/01.3001.0010.1678.
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Existing academic works examining Polish artistic photography in the 1950s and 1960s are most often based on an analysis of the debates taking place within professional circles and the views of specifi c artists as expressed in the specialist periodicals that were published at that time. Such diagnoses are frequently based on a single and very particular source, namely the monthly magazine Fotografi a. The pages of this periodical project an image of an artistic society enjoying a relatively high degree of autonomy. The present study represents a different research approach, inspired e.g. by the works of Bruce Altshuler and Kenneth Luckhurst, who postulated the re-orientation of art history away from biographical works focused on the individual subject towards a discipline understood as the history of exhibitions. Following the course set by these scholars, one may come to the conclusion that an analysis of the place which photography held in the offi cial exhibition strategy implemented in the 1950s and 1960s in the prestigious Warsaw galleries of the Kordegarda and the Central Bureau of Art Exhibitions (CBWA) may provide an interesting and new contribution to the current state of research. A study based on an examination of the history of exhibitions may help to answer the question whether all forms of photography were equally approved by the authorities at a time when the rules of the cultural policy of the People’s Republic of Poland became more lenient. It also makes it possible to evaluate the degree to which autonomy and heterogeneity (features which may be associated with the magazine Fotografi a) were legitimised through presentation in a state-owned, politicised public space. Conducted from the perspective of exhibition history, the analysis presented herein makes an important shift in the signifi cance of Pictorialism – from a topic on the margins of academic interest to a harbinger of modernity, and thus a central subject in the discourse on Polish photography in the post-war period. Rather surprisingly, it appears to be the slogan that legitimised the more innovative and modern forms of photographic art in the offi cial contexts of the day.
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Ben-Choreen, Tal-Or K. "Emergence of Fine Art Photography in Israel in the 1970s to the 1990s Through Pedagogical and Social Links with the United States." Contemporary Review of the Middle East 6, no. 3-4 (September 2019): 252–65. http://dx.doi.org/10.1177/2347798919872588.
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The flourishing of photography as a tool for expressive reportage and artistic practice transformed photographic education during the mid-twentieth century. American-based academic institutions quickly established reputations in the emerging fine art field as leaders in photographic education drawing international students from diverse locations, including Israel. Many Israelis who studied photography in American institutions returned to Israel bringing with them the knowledge they had gained while abroad. This article considers the impact of American pedagogical models and social networks on the development of the Israeli photographic field. Included in this discussion is an exploration of the emergence of Israeli photography programs in institutions of higher education, photography galleries, museum collections, and exhibitions. By approaching the study through a network methodological approach, this article traces the transnational movements of individuals: photographers, program graduates, and curators in order to demonstrate the significant impact American photographic education had on the emerging Israeli photographic field.
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Pavlova, T. "The First Public Exhibition of the “Vremya” Group in Kharkiv: a New Art Medium Manifesto." Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2020, no. 3 (December 2020): 54–61. http://dx.doi.org/10.33625/visnik2020.03.054.
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A certain liberalization of life accompanied the period known as Khrushchev’s thaw. It contributed to the formation of the new directions in artistic culture of Ukraine. Although they were not supported by the authorities, these directions were more in line with reality. Their viability depended entirely on the corresponding alternative groupings which appeared at that period. Such program was presented by the avant-garde Kharkiv “seven”, the photographers who united in the group “Vremya” in 1971. The group included Yu. Rupin and Ye. Pavlov (the founders), B. Mikhailov, O. Maliovany, H. Tubalev, O. Suprun, and O. Sytnychenko, and A. Makienko, who joined later. That was the time of apartment exhibitions and slide shows. In 1983, this group organized a show at Kharkiv House of Scientists, relying on its liberal exhibition policy and intelligent viewers. Despite the crowd, which gathered for the opening of the exhibition, the show was closed at the end of the first day. The opening included the press line‑up where the group entrusted Yuri Rupin to present the concept of the group, in particular, the “impact theory”. The exhibition became a serious mistake in the policy of such a centralized institution as Kharkiv House of Scientists. Photography appeared as a powerful art medium, not as a mere verification service. Therefore, it was very important that the background of the exhibition included a museum‑level cultural location, which was the next step after Vagrich Bakhchanyan’s nonconformist actions and street exhibitions in Kharkiv in the mid‑1960s. The “Vremya” group manifested photography as a new force of influence, which could no longer be ignored. An important historical fact was recorded because the group entered the zone of public conflict. At the same time, they consolidated the achieved positions such as the right to individuality, freedom of artistic gesture, and intervention in the field of photographic mimesis.
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Xu, Catherine. "Tracks in the Snow." IU Journal of Undergraduate Research 2, no. 1 (May 31, 2016): 29–33. http://dx.doi.org/10.14434/iujur.v2i1.20925.
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In 2000, Subhankar Banerjee set out for the Arctic National Wildlife Refuge to photograph polar bears in a “place untrammeled by tourism or industry” (Banerjee, 2008). This paper explores a number of threads regarding Banerjee’s artistic journey from descriptive to interpretive work, including the role of politics in Banerjee’s evolution as an artist and environmental activist and comparisons of his different publications over time. Along with providing context for Banerjee’s work, this paper investigates the unique avenues through which Banerjee’s photography challenges the traditional paradigm of a pristine wilderness by reconceiving its spacial representations in exhibitions and books highlighting the presence of humans in the Arctic. Research was primarily conducted through an analysis of both photographic and textual elements of Banerjee’s publications and a conversation with Banerjee.
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Condraticova, Liliana. "Exhibition management as part of the academic management: synthesis of an experience." Akademos, no. 4(67) (March 2023): 10–18. http://dx.doi.org/10.52673/18570461.22.4-67.01.
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The exhibitions held at the Academy of Sciences of Moldova or in partnership with AȘM between years 2019–2022, have become a marker of the activity and appreciation of researchers, teachers, museographers. This article examines the retrospective of national or international exhibitions, classified according to the content and participants in scientific and innovation exhibitions, thematic and anniversary exhibitions (dedicated to certain events or personalities), scientific book exhibitions, photography, plastic art. The pandemic marked the activity planners and numerous exhibitions were organized online. However, this did not reduce their significance. The role of exhibitions is indisputable, so the Academy of Sciences of Moldova has carried out multiple large-scale events, emphasizing the scientific, innovative and artistic achievements of the community.
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Kontos, Ioannis, and Ioannis Galanopoulos-Papavasileiou. "Photojournalism: Values and Constraints, Aestheticism, and Aftermath Photography." European Journal of Fine and Visual Arts 2, no. 1 (April 27, 2024): 1–11. http://dx.doi.org/10.24018/ejart.2024.2.1.20.
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This article delves into the essence of photojournalism, focusing on values and constraints and scrutinizing specific works by Yannis Kontos through the prisms of aestheticism and aftermath photography. Drawing on photojournalist methods, personal experiences, and literature, the authors articulate the nuanced nature of photojournalism at the convergence of aesthetics and aftermath. The core value of photojournalism, resembling forensic documentation, is explored, emphasizing the gathering of evidentiary material in adherence to practical mandates of objectivity, detachment, and neutrality. The discussion extends to practical dimensions, addressing challenges in environments such as war zones concerning time, logistics, technology, and ethics. Contemplating the potential artistic dimensions of photojournalism, the article explores the interplay between aesthetic concerns and the preservation of journalistic and ethical integrity. The author’s self-identification as a documentary photographer with a penchant for the aftermath movement underscores a nuanced approach. While acknowledging artistic exhibitions, the ultimate ambition is for contributions to be a lasting reference, inspiring future generations. In a critical engagement with the broader discourse on photojournalism, the paper situates the practice within both documentary and art photography. It offers a succinct exploration of the inherent values and constraints of photojournalism in diverse contexts, revealing its dynamics at the crossroads of aesthetics and documenting aftermaths.
Dissertations / Theses on the topic "Photography, Artistic – Exhibitions"
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Lee, Stephanie Maria. ""The Will to Create" Exhibition Photographic Documentation of, and Narrative on the Body of Work in Sculpture, Painting and Mandala." Fogler Library, University of Maine, 2008. http://www.library.umaine.edu/theses/pdf/LeeSM2008.pdf.
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Watson, David Rowan Scott. "Precious Little: Traces of Australian Place and Belonging." University of Sydney, 2005. http://hdl.handle.net/2123/1098.
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Master of Visual ArtsThe Dissertation is a meditation on our relationship with this continent and its layered physical and psychological ‘landscapes’. It explores ways in which artists and writers have depicted our ‘thin’ but evolving presence here in the South, and references my own photographic work. The paper weaves together personal tales with fiction writing and cultural, settler and indigenous history. It identifies a uniquely Australian sense of 21st-century disquiet and argues for some modest aesthetic and social antidotes. It discusses in some detail the suppression of focus in photography, and suggests that the technique evokes not only memory, but a recognition of absence, which invites active participation (as the viewer attempts to ‘place’ and complete the picture). In seeking out special essences of place the paper considers the suburban poetics of painter Clarice Beckett, the rigorous focus-free oeuvre of photographer Uta Barth, and the hybrid vistas of artist/gardener Peter Hutchinson and painter Dale Frank. Interwoven are the insights of contemporary authors Gerald Murnane, W G Sebald and Paul Carter. A speculative chapter about the fluidity of landscape, the interconnectedness of land and sea, and Australia’s ‘deep’ geology fuses indigenous spirituality, oceanic imaginings of Australia, the sinuous bush-scapes of Patrick White, and the poetics of surfing. Full immersion is recommended.
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Watson, David Rowan Scott. "Precious Little: Traces of Australian Place and Belonging." Thesis, The University of Sydney, 2004. http://hdl.handle.net/2123/1098.
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The Dissertation is a meditation on our relationship with this continent and its layered physical and psychological ‘landscapes’. It explores ways in which artists and writers have depicted our ‘thin’ but evolving presence here in the South, and references my own photographic work. The paper weaves together personal tales with fiction writing and cultural, settler and indigenous history. It identifies a uniquely Australian sense of 21st-century disquiet and argues for some modest aesthetic and social antidotes. It discusses in some detail the suppression of focus in photography, and suggests that the technique evokes not only memory, but a recognition of absence, which invites active participation (as the viewer attempts to ‘place’ and complete the picture). In seeking out special essences of place the paper considers the suburban poetics of painter Clarice Beckett, the rigorous focus-free oeuvre of photographer Uta Barth, and the hybrid vistas of artist/gardener Peter Hutchinson and painter Dale Frank. Interwoven are the insights of contemporary authors Gerald Murnane, W G Sebald and Paul Carter. A speculative chapter about the fluidity of landscape, the interconnectedness of land and sea, and Australia’s ‘deep’ geology fuses indigenous spirituality, oceanic imaginings of Australia, the sinuous bush-scapes of Patrick White, and the poetics of surfing. Full immersion is recommended.
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Lenzini, Vanessa Sobrino. "Noções de moderno no Foto-Cine Clube Bandeirante : fotografia em São Paulo : (1948-1951)." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/282034.
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Orientador: Iara Lis Franco SchiavinattoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
Made available in DSpace on 2018-08-10T11:05:26Z (GMT). No. of bitstreams: 1 Lenzini_VanessaSobrino_M.pdf: 21020362 bytes, checksum: 09ef2c71241d6ab90f34e88ea198be1c (MD5) Previous issue date: 2008
Resumo: O presente estudo apresenta uma coletânea de artigos sobre fotografia, publicados entre 1948-1951 no Boletim do Foto-Cine Clube Bandeirante (FCCB), fundado em 1939, em São Paulo. Esses artigos trazem um debate sobre a fotografia enquanto representação artística, inspirada nos parâmetros do pictorialismo, que divulgavam um modo de atualização da fotografia enquanto arte. Acompanhando a coletânea, este estudo pretendeu matizar as idéias dos artigos, levantando as noções que embasaram a produção fotográfica do FCCB a se projetar como 'moderna' no circuito artístico e cultural da cidade de São Paulo. Procurou-se identificar as disputas e as intenções que uma produção possui ao se divulgar como parte 40 moderno. Em sua maioria, os artigos que compõe a coletânea são traduzidos de revistas oriundas de associações fotográficas internacionais, tomando-se referência para a discussão desta prática no Clube
Abstract: This study intends to present collected articles about photography published between 1948-1951 on the Foto-Cine Clube Bandeirante (FCCB) Bulletin, founded in 1939 in São Paulo. This articles bring up a debate about photography as al1 ,artistic representation inspired on pictorialistic parameters, which spread a way to ,update photography as an art formo With the collected articles, this study tried to balance the articles ideas, raising the notions that supported the concept of FCCB's photographic production as modern in the artistic and cultural circuit of São Paulo. This study intended to identify the disputes and intentions inhen(?t to ~ production which spreads itself as part of the moderno Most of the collected articles ~~e translated ITom international photographic associations magazines and became reference for photographic discussions at the Club and stated its cosmopolitan character
Mestrado
Politica, Memoria e Cidade
Mestre em História
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Perkins, Elizabeth W. "Conversations With the Self: An Artist's Visual & Written Wanderings." VCU Scholars Compass, 2004. http://scholarscompass.vcu.edu/etd/872.
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The thesis is made up of episodes in which I am in dialogue with myself, sometimes in dialogue with the work, and yet other times I am speaking directly to the reader/viewer. The tense also sways from past to present as frequently as the visual language does. The following episodes are a selection of writings from my final year at graduate school. The episodes express my influences, inspirations, theories, and philosophies as a person and a maker. I think of these things as what allows me to wander and then wander somewhere else completely different within the same landscape. I feel it is important for an audience to experience these wanderings. I feel it is more valid for you to read exactly what I am thinking rather than to tell you about what I am thinking and making, because it is an expression of my relationship with my work. The images are supplemental to the writing. The images and writings fit together in that they inform one another. That is not to say that the ideas do not always transfer literally from image to writing but that they are what is thought about simultaneously through out my creative process. Most importantly I have developed through my graduate experience an intense relationship with the work. This is the most important relationship an artist has, the one with his or her work. It is deep and enriching, at times painful and frustrating, and at its best surprising, amazing, and even glorious. This is what I have to share through my thesis.
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Sharp, Michael G. "Ghost Water Exhibition." BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/6272.
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The Ghost Water exhibition of artworks by Michael Sharp was comprised of four main works titled: 30 x 60 Minute Grid Series, Suspension, History/Prehistory, and Lake Bonneville Remnants. The artwork was created as a reaction to the land that once held the prehistoric Lake Bonneville and to its current remnant Great Salt Lake. The work explores the dialogue between absence and presence.
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Martinez, Léo. "Le rôle des expositions dans la valorisation de la photographie comme expression artistique, en France de 1970 à 2005." Phd thesis, Université Toulouse le Mirail - Toulouse II, 2011. http://tel.archives-ouvertes.fr/tel-00764966.
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Depuis les années soixante dix en France, la photographie est au centre de nombreuses attentions. Apparaissent alors des expositions visant à valoriser le médium et à le légitimer en tant qu'expression artistique. Avant d'être reconnue par les institutions muséales et d'être l'objet d'une véritable politique volontariste de la part des services de l'Etat, la diffusion et la valorisation de la photographie revient aux photographes eux mêmes qui créent pour ce faire de nombreux lieux dédiés à l'exposition du médium. Dans les années quatre-vingt, l'autonomisation progressive du champ de la photographie s'accompagne de l'apparition d'une histoire et d'un discours critique. Au début des années quatre vingt dix apparaissent les premières expositions à présenter une photographie qui s'inscrit d'emblée dans les pratiques artistiques contemporaines. Le succès de cette production se concrétisera dans la décennie suivante et participera non seulement à la légitimation de la photographie mais aussi à une relecture de l'histoire de l'art.L'exposition est abordée ici en tant qu'interface entre les quatre acteurs principaux du monde de l'art: les artistes, les décideurs et les médiateurs et le public. Elle est aussi perçue comme un dispositif en ce qu'elle véhicule des discours visant à établir des normes artistiques et à faire autorité. L'étude de plus de trente ans d'expositions nous permet de suivre l'évolution des discours qui ont accompagné le médium durant son autonomisation mais aussi de percevoir les voies empruntées par un objet culturel dans ces différents processus de légitimation.
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Jacobson, Ruth Hedda. "“Picture perfect”: hand-coloured photographic portraiture in South Africa in the 20th century; a study of the collection of the Aqua Portrait Studio, Johannesburg." Thesis, 2017. https://hdl.handle.net/10539/24556.
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A research report submitted to the Faculty of Humanities University of the Witwatersrand, Johannesburg, in partial fulfilment of the requirements for the degree of Master of Arts (History of Art), 2017This research was instigated by a collection of uncollected portraits (completed and incomplete), photographs, letters, papers, documents, passbooks, and other materials, left behind when an airbrush portraiture studio, The Aqua Portrait Studio, closed in about 1998 after fifty years of continuous business. The portraits were created by enlarging small original photos – sometimes from two separate sources – and then colouring them with an airbrush and other materials. Because of the nature of the airbrush technique, it was possible to change the original image completely: to clothe the sitters in completely imaginary attire, for example, and pose them together with someone they had possibly never been photographed with. This process gave rise to a genre in which people could re-imagine themselves, enact other personas. Because the fifty years of existence of this studio almost coincided with the years of apartheid (the studio was open from about 1950 to about 1998), it seemed that the collection of uncollected images and notes left behind could be a source of rich information about the people who were the studio's clients, the process of acquiring airbrushed portraits, and the social and historical context in which those involved lived. I start with three fundamental questions: Since this portraiture form grew so exponentially in popularity, especially during the apartheid years, what specific significance and meaning had it taken on for the communities who were buying the portraits? What need was it meeting? What can we learn about these lives from this collection? The research takes two forms. First, it closely interrogates the material objects in the collection; and second, it tracks the routes of clients and salesmen to what were some of the former homelands of the northern part of South Africa. Both these investigations attempt to understand the possible roles and contribution of these pictures to the construction and reconstruction of self-identity under apartheid.
XL2018
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Boyle, Mark. "Do you like my pics? : exhibition and exegesis as self reflective study." Thesis, 2012. https://vuir.vu.edu.au/21477/.
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This research thesis, Do you Like My Pics, investigates perceived value in art through the recreation of well-known paintings. Using photography and photo-manipulation the content of the image has been recreated in another medium in order to dissociate the tangible, actual image from the aura of the artist who created it.
Books on the topic "Photography, Artistic – Exhibitions"
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Warhol, Andy. Photography. Hamburg: Hamburger Kunsthalle, 1999.
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Hannover, Sprengel Museum, and Niedersächsische Sparkassenstiftung, eds. Photography calling! Göttingen: Steidl, 2011.
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Sieff, Jeanloup. Jeanloup Sieff: Erotishe photographie = erotic photography = photographie érotique. Berlin: Benedikt Taschen, 1991.
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Institute of Modern Art (Brisbane, Qld.), ed. Photography now! Tōkyō: Amana, 2014.
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Internationale Foto-Triennalen (4th 1998 Esslingen am Neckar, Germany). Photography as concept. [Ostfildern]: Cantz, 1998.
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Claire, Stoullig, and Besançon (France).. Musée des beaux-arts, eds. Lartigue, ou, Le plaisir de la photographie = Lartigue, or, The pleasure of photography. Paris: Somogy, 2004.
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Los Angeles County Museum of Art., ed. New American photography. Los Angeles, CA: Los Angeles County Museum of Art, 1985.
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National, Exhibition of Photography (2nd 1996 Lalit Kala Akademi New Delhi). 2nd National Exhibition of Photography, 1996. New Delhi: Lalit Kala Akademi, 1996.
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National Exhibition of Photography (1st 1995 Lalit Kala Akademi, New Delhi). First National Exhibition of Photography, 1995. New Delhi: Lalit Kala Akademi, 1995.
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Marie-Noëlle, Maynard, Labourdette Anne, Musée de Carcassonne, and Musée de la Chartreuse, eds. Derain: Sculpteur & photographe = sculptor & photographer. Angers: Expressions contemporaines Editions, 2007.
Find full textBook chapters on the topic "Photography, Artistic – Exhibitions"
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Boulet, Louis. "The Dominance of Monographic Exhibitions in French Photographic Institutions: Data, Criticisms and Impact on Artists’ Visibility." In Contemporary Photography as Collaboration, 123–42. Cham: Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-41444-2_7.
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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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Hamilton, Alexander. "The Photographers’ Gallery." In In Search of the Blue Flower, 31–33. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781838382261.003.0008.
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The artist return to the UK/Scotland, starts a collaboration with the Photographers Gallery in London, with exhibitions of cyanotypes. In Scotland, collaborates with FotoFeis, the biannual festival of photography in Scotland. Holds exhibition projects in UK and Europe.
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Lin, Jenny. "Epilogue: Forgotten corners." In Above Sea, 154–56. Manchester University Press, 2019. http://dx.doi.org/10.7228/manchester/9781526132604.003.0007.
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A few years ago, my students and I organized an exhibition of contemporary photography from mainland China, presented in our small university-run gallery in Portland. The project began with a call for photographs, which we forwarded to Chinese art schools, museums, and cultural institutions; to individual artists, photographers, and photojournalists; and through Chinese social media channels such as Weibo and WeChat. We asked people to email photographs of contemporary life in the PRC and to consider, but not limit themselves to, themes such as urbanization versus developments in the rural countryside, the impact of foreign cultures on local identities, the environmental impacts of globalization, and gender issues amid societal shifts. We grew giddy at the abundant response. Hundreds of photographs streamed into our class’s inbox. For the most part, the senders were previously unknown to me and my students. These strangers’ submissions allowed us to see, through their eyes, a fuller representation of the PRC, a place whose modern and contemporary art we had been studying mainly through past exhibitions, scholarly articles, and survey texts....
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Orvell, Miles. "Atomic War and the Destructive Sublime." In Empire of Ruins, 149–78. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190491604.003.0006.
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This chapter on atomic ruins begins with a discussion of the bomb itself and the iconic form of the mushroom cloud, which quickly emerged from photographs of the explosion. The photography of nuclear war is considered in the work of Japanese photographers like Yamahata and Matsushige, whose horrifying images of the Hiroshima and Nagasaki blasts eventually were shown in the pages of Life magazine after the ban was lifted. Edward Steichen’s celebrated Family of Man exhibition at the Museum of Modern Art is considered in terms of the image of the hydrogen bomb and its later disappearance from the book version of the show. The post-atomic response of artists like Isozaki is examined, along with American photographers who pictured the Southwest US testing grounds in stunning photographs that explored ways of imaging the unimaginable. How beautiful was the bomb itself? Michael Light’s collection of imagery and related museum exhibitions have shown us the ambiguities of viewing the Destructive Sublime.
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Dunaway, Finis. "Flat, White Nothingness?" In Defending the Arctic Refuge, 193–208. University of North Carolina Press, 2021. http://dx.doi.org/10.5149/northcarolina/9781469661100.003.0022.
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This chapter considers Subhankar Banerjee’s unlikely path to Arctic activism. An Indian-born photographer, Banerjee spent much of 2001 and 2002 in the Arctic National Wildlife Refuge, taking photographs during all four seasons. In 2003, an exhibition of his photographs at the Smithsonian Institution’s National Museum of Natural History sparked an unexpected controversy, leading to charges of government censorship. The chapter weaves together Banerjee’s life story with discussions of his approach to photography—including his efforts to render nature in mono- or bi-chromatic color schemes—and of the relationships he built with Gwich’in and Iñupiat communities. Like Lenny Kohm, Banerjee learned that the Arctic Refuge fight was a struggle for Indigenous rights and cultural survival. More than any previous artist and activist, Banerjee—through his photographs of caribou and migratory birds—helped viewers appreciate the transnational significance of the Arctic Refuge, both with and beyond North America. In addition, the chapter explains how Banerjee’s show was revived by the California Academy of Sciences and then toured the United States for two years and how he moved into grassroots activism, including slide show tours with Gwich’in and Iñupiat leaders.
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Tomczak, Justyna. "Sztuka afrykańska jako składnik przestrzeni publicznej a twórczość awangardowa – dadaizm." In Afryka i (post)kolonializm. Wydawnictwo Uniwersytetu Łódzkiego, 2016. http://dx.doi.org/10.18778/8088-260-7.06.
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Article take on the functioning of the twentieth century urban space and its influence on the shaping of stereotypical images of African art and culture. The text adopted two aspects of the problem: mediation, occurring between images of what African and European in urban space and artistic activities Dadaists, which are in response to the specific character of “primitivism” present in European cities. Selected examples will be explained how materialized mentioned mediation and how the Dadaists reveal the mechanisms of its action. Discussed examples of mediation present in the urban space include images of people in Africa and how they are presented on posters, photographs and illustrations, but also a way exhibiting African art and so. ethnological exhibitions. The article was also subjected to analysis of work of the Dadaists: Tristan Tzara, Hugo Ball, Richard Huelsenbeck, Marcel Duchamp, Hanna Hoch and Sophie Tauber-Arp.
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Porter, Austin. "Shahn, Ben (1898–1969)." In Routledge Encyclopedia of Modernism. London: Routledge, 2018. http://dx.doi.org/10.4324/9781135000356-rem2067-1.
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Ben Shahn was an American painter, photographer, muralist, and graphic artist. His realist style, left-wing political activism, and socially conscious artwork exemplify social realism. After immigrating to Brooklyn from Lithuania in 1906, Shahn trained as a lithographer. He received early critical success with The Passion of Sacco and Vanzetti (1931–2), a series of paintings that addressed the controversial trial of two Italian anarchists. During the Great Depression’s economic instability, Shahn created posters, murals, and photographs for New Deal agencies promoting government aid. His post-war work included paintings with symbolic themes drawn from his Jewish heritage, and commercial projects exhibiting expressive typography.
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Elizondo Griest, Stephanie. "The Wall." In All the Agents and Saints. University of North Carolina Press, 2017. http://dx.doi.org/10.5149/northcarolina/9781469631592.003.0008.
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The most inane obstacle that undocumented immigrants face upon reaching U.S. soil is the 670-mile border wall that Congress erected after passing the 2006 Secure Border Fence Act. The author meditates on its architecture through her meetings with half a dozen visual artists. Conceptual artist Susan Harbage Page photographs and collects the objects immigrants leave behind during their border crossing. Artist and curator Mark Clark organizes “Art Against The Wall” exhibitions in which artists festoon the border wall with brilliantly colored canvases (until the Border Patrol takes them down). Rigoberto Gonzalez is an oil painter who recreates life-size images of narco-violence in the style of seventeenth-century Baroque masters. Santa Barraza paints a Virgen de Guadalupe in Kingsville every December. At the end of the chapter, the author witnesses the arrest of two undocumented immigrants less than a mile from the Rio Grande.
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Dolzani, Francesca. "Il gioco di nessuno." In Storie della Biennale di Venezia. Venice: Edizioni Ca' Foscari, 2019. http://dx.doi.org/10.30687/978-88-6969-366-3/013.
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The purpose of this article is to start mapping the trajectories of artistic dispositives, exhibiting formats and reciprocal cultural influences across Europe since its economic and political foundation in the 1950s, and up until the 1980s. Lines are drawn between Venice and Paris, two of the most visually identified cities on the continent, to explore the contribution given by photography and Biennales towards a European self-representation.
Conference papers on the topic "Photography, Artistic – Exhibitions"
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Monteiro, Caique Cahon. "Aesthetic Experience and Digital Culture: New Flows in The Space of Art Exhibition." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.67.
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Artistic institutions are traditionally places of cultural and social memory reverberation. Such spaces have a character of institutionalisation of the cultural market. Contemporary works of art and the exhibition format are factors that shape the possibilities of consumption and experience from visitors within these spaces. By taking advantage of the artifices of their time, art and artists appropriate new digital Technologies, digital culture contextualizes this movement, interweaving new paradigms in the exhibition spaces of museums, galleries and cultural centres. It is clear that the artistic production that involves digital media at some level creates increasingly subjective and hybrid paths between machine and human in the processes. This occurs not only in the scope of raw material and in the production of their poetics and narratives, but also in every present social context, of consumption, access, and dissemination of artistic works. In the last 10 years there has been a growing number of public in cultural institutions in Brazil (data from IPEA - Institute for Applied Economic Research), this curve does not resemble any increase in investment in public policies, improvement in education or culture. This rate of increase in visitors to cultural spaces is like the increase in access to mobile devices and use of the internet and social networks, perhaps, at some level, it shows that internet access and digital culture may be enabling an environment of spontaneous dissemination for the artistic market in Brazil. With the advent of smartphones and the constant use of this technology in various moments of leisure and work, the habit of taking a picture from any work of art has become something normalised in institutions. This process can create different media flows that reformulate the visitor's experience in front of the exhibition space. In this way, the traditional and passive spectator subject is mixed with the user subject present in digital culture, with its agency potential and sharing capacity. Although these photographs present themselves in society as a cultural product, their visualisation and distribution extend to a computational level. This master's research project proposes to establish dialogues between the field of communication and the arts, especially digital culture, and aesthetic experience. The object of study is the production of photographic images made by visitors to cultural exhibitions through smartphones and shared on the Instagram social network. Through the use of artificial intelligence, it will be possible to analyse hundreds of images from the Instagram social network that were taken at the Banco do Brasil Cultural Centre, located in the city of Rio de Janeiro, Brazil (Brazilian institution with the highest number of visitors in the last 5 years). This qualitative and quantitative analysis enables a reflection on the contemporary media character present in art exhibition spaces and the observation of new experiences between public, work, and digital culture.
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Laurentiz, Silvia. "Realities Research Group: 10 years of studies in art-technology." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.130.
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The Research Group Realidades - from tangible realities to ontological realities - was created in 2010 and is based at the School of Communications and Arts, University of São Paulo, accredited by the Institution and CNPq, Brazil. It already has a huge production, from artistic works, texts, interviews, events organization, and other technical productions, which can be found at http://www2.eca.usp.br/realidades. In its initial research, the Realidades Group investigated how to coherently treat certain terms and categories while maintaining a dialogue between different areas of knowledge, in addition to pointing out counterparts from the breaking of certain conceptual coherences promoted by this dialogue. The object of study of the first projects was precisely to know and expand terms such as simulation, virtuality, hybridization, as well as to propose new devices, interfaces and uses for the technologies. In the current proposal, the group inaugurates new lines of research that will address contemporary phenomena in the field of digital media, critically observing the experience in the intersection between arts, sciences and communications in locative media, audiovisual performances, reality augmented, 360º video and photography, artificial intelligence, three-dimensional modeling, and digital prototyping, among others. It also considers broader issues that arise in this context in relation to the ways of weakening the consensus around the alternatives of representing reality, which happen because of the informational explosion, and the mapping of patterns, in addition to observing political aspects of these discussions. To fulfill these objectives, which significantly expand the initial problems, we redesigned our lines of research in 2020, which are now defined as: 1. Codified Thoughts; 2. Audiovisual Processes; and 3. Poetic-political criticism. The lines of research present specific goals, objectives, and results, which add up without failing to meet the general objectives of the group. It is important to say that the group has a diversified production, but it is evident that the artistic works stand out. In our artworks, the intrinsic relationship between theory and creative practices is essential. We can see the result of these practices and creative processes in the works we carry out and which have already been shown in national and international exhibitions. All information about each one can be found on the group's website. They have started with the Enigmas Series, which was developed between 2012 and 2017.This series has 3 productions and some versions. We also have the series “When the Stars Touch”, with two works, one created in 2019 and the other in 2020. In 2017 we produced the installation Dynamic Crossing, which participated in ISEA 2017 - 23rd International Symposium on Electronic Art, in Manizales, Colombia. The group's most recent artwork is "InMemoriam". It is still online and can be accessed on its website.
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Lima, Cláudia, Susana Barreto, and Rodrigo Carvalho. "Interpreting Francis Bacon's Work through Contemporary Digital Media: Pedagogical Practices in University Contexts." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001420.
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This paper describes two pedagogical practices based on Francis Bacon’s graphic Works. One in a curricular context, held at Escola Superior Artística do Porto, and the other in an extracurricular context held at Universidade Lusófona do Porto (both in Portugal), which aimed to stimulate students towards a critical analysis and interpretation of Francis Bacon's work and its recreation using contemporary digital media. This initiative was integrated in the Graphic Works of Francis Bacon exhibition at the World of Wine Museum in Vila Nova de Gaia and was the result of a collaboration between this Museum, the Academy and the Renschdael Art Foundation, a collaboration that aimed to give voice and life to a debate emerging from the exhibition of the work of art and its multimedia translation. Hence, it was intended to complement the exhibition of the artist's works with a multimedia language, through multiple interpretations and digital animations of the Painter's work made by the students and targeted at digital natives as one stream of the exhibition was to target local primary and secondary schools.The participants involved in this project came from various BAs, including Communication Design, Fine Arts and Intermediate, Visual Arts - Photography, Cinema and Audiovisual, Audiovisual Communication and Multimedia, Video Games and Multimedia Applications. This allowed to bring together multidisciplinary groups of students with different profiles and backgrounds, contributing to a myriad of results both in visual terms and technological resources, which included approaches such as: the use of techniques close to rotoscoping in which students created drawings frame by frame over the original images; the exploration of cut-out animation techniques; the recreation of Francis Bacon's work in 3D; explorations of image manipulation, editing, and video effects.In an academic context, these practices resulted in an in-depth knowledge of the work of an artist from a generation different from that of the students; an opportunity for them to work with a real client, applying in a project the knowledge obtained in various curricular units of the BAs they are attending; and the possibility of seeing their work integrated in an international exhibition. As regards to the Graphic Works of Francis Bacon exhibition, this academic project brought a new dynamic to the space combining graphic works by the Painter with multiple interpretations of a generation to whom digital media are omnipresent.In this paper, the pedagogical practices adopted in both Universities are described, projects by students are analyzed as well as the contribution that these projects brought to the exhibition through information gathered from visitors, from articles published on the event and through an interview conducted with the exhibition curator.The exhibition, according to the commissioner, Charlotte Crapts, had an "impressive" turnover bearing in mind that the country was going through Covid restrictions. In the commissioner’s view, the multimedia interventions created a bridge with the educational sector and following this, the exhibition interacted with a great number of youngsters. This was a pioneer exercise in the exhibition space that will be followed in future exhibitions.
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Chooi, Don. "Bear Bodies in Motion: A creative approach in telling a story of bigger, gay male bodies of colour through artistic means as practice-led research." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.80.
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In 2020, I created a body of work that paid attention to the concerns of body image representation of the gay male. The work was shown in a local exhibition in Auckland, called ‘Bear Bodies in Motion’, and it aimed as a critique on the anxieties of body image, especially in the gay bear subculture where there are considerable levels of stigma and shaming of bigger male bodies – made more profound towards bodies of colour. In an attempt at subversion, the creative work, portrayed the bigger body as energetic and aesthetically potent. It combined photography with digital painting and the result was an expression of body acceptance and authorship. Thematically, the image of the gay bear builds on a rich history of homo-oriented art. It plays on the tapestry of the gay identity which determines how it is being represented, negotiated and remixed continually in the gay mainstream. Discourse emanating from gay communities of colour, speaks of attempts to remove colonised attitudes, and in reimagining their heritage and sexual identities authentically. This artistic body of work sought to add to the dialogue that surrounds issues of race, queerness and ‘otherness’. The subsequent conversations which followed the exhibition, unpacked concerns of cultural identity, masculinity and belonging – in which seem to be heavily burdened by western-influenced and racialised notions of performativity. Through research, and taking in the ephemera that surrounds the discourse of the colonised body image, I begun to create work that seeks to further add to the discourse. This heavily illustrated paper reflects on the creative process in the art making of ‘Bear Bodies in Motion’. The methodology underpinning this artistic body of work is ‘reflection-in-action’, and it draws inspiration from research in the ‘lived experience’. Additionally it also consider its move from traditional mediums to the consideration of technology as a platform for storytelling, from the print medium to digital spaces – in this instance, the inclusion of Augmented Reality (AR). With this extension, AR provides the viewer the opportunity to take a more active role in reading the text. The experience moves the work into a more participatory space, where the narrative becomes more palpable and appreciated. The making journey is outlined from conceptual stage to the finalised artistic work from my personal lens who is both artist-maker and design practitioner. This paper also discusses the challenges and conflicts in creating a body of work of this nature. Especially of concern is its need for sensitivity in the representation of non-euro cultures – with greater emphasis given to the consideration for its homosexual themes, and to the identities of my participants as they were from the community itself. This paper also includes my reflections and personal insights in how this approach to a practice-led research has contributed to my own learning and teaching approach. Being an educator myself, this process has given me greater empathy and understanding in the student journey within today’s higher education environment.
Reports on the topic "Photography, Artistic – Exhibitions"
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Sequeira, Dora María, Ileana Alvarado V., and 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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Moreno Mejía, Luis Alberto, and Iván Duque Márquez. Contemporary Uruguayan Artists: An Uruguayan Presence in the About Change Exhibition. Inter-American Development Bank, February 2012. http://dx.doi.org/10.18235/0006209.
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Contemporary Uruguayan Artists is part of About Change: Art from Latin America and the Caribbean, a project of the World Bank Art Program in cooperation with the Cultural Center of the Inter-American Development Bank and AMA | Art Museum of the Americas at the Organization of American States. The initiative comprises a series of exhibitions of art from Latin America and the Caribbean being offered in various venues in Washington during 2011-12. The exhibition is presented In honor of Uruguay and the City of Montevideo, site of the 53rd Annual Meeting of the Board of Governors of the IDB. The works selected for the exhibition offer a panorama of contemporary Uruguayan creativity. These pieces revisit history, explore memory, examine changes that have transformed culture and the environment, and rethink traditions. It includes painting, print, sculpture, mixed media, and photography, by 13 artists: Santiago Aldabalde, Ana Campanella, Muriel Cardoso, Gerardo Carella, Federico Meneses, Ernesto Rizzo, Jacqueline Lacasa, Gabriel Lema, Daniel Machado, Cecilia Mattos, Diego Velazco, Santiago Velazco, and Diego Villalba.
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Kupfer, Monica E. Perceptive Strokes: Women Artists of Panama. Inter-American Development Bank, March 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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First Inter-American Competition and Exhibition of Digital Photography. Inter-American Development Bank, January 2004. http://dx.doi.org/10.18235/0008284.
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First Inter-American Competition and Exhibition of Digital Photography sponsored by the IDB Cultural Center and the IDB Information and Communication Technology for Development Division, met January 12 and 13, 2004, in Washington, D.C., and reviewed 300 entries submitted by 100 artists from 20 countries.
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Discover Haiti Exhibition. Inter-American Development Bank, June 2012. http://dx.doi.org/10.18235/0005976.
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The Inter-American Development Bank's Cultural Center will host on June 11-27 Discover Haiti, an exhibit of handcrafts from the Urban Zen Foundation's Haitian Artisan Project and pieces from the Nomad Two Worlds collaborative arts project. Discover Haiti is being organized jointly by the IDB Cultural Center, renowned designer Donna Karan's Urban Zen Foundation and Nomad Two Worlds, a foundation established by acclaimed Australian photographer Russell James to promote artists from indigenous and marginal communities.
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First Inter-American Competition and Exhibition of Digital Photography. Inter-American Development Bank, February 2004. http://dx.doi.org/10.18235/0005914.
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During 2003-04, a completely virtual project was organized to promote regional integration through the use of new information and communication technologies for development among other things. A jury reviewed 300 entries submitted by 100 artists from 20 countries. The exhibition was launched on the Internet in February 2004 announcing the results: Awards were given to Alejandro Crisóstomo F. (Guatemala); Miguel A. Caprara (Argentina); Ricardo Vargas B. (Peru); and Juan A. Sánchez O.(Colombia). Honorable Mentions were to given to: Raul A. Villalba (Argentina); Gonzalo Contreras del Solar (Bolivia); Santiago Vanegas D. (Colombia); Marcos Fredes Cifuentes (Chile); Jorge A. Lobato Rivera (Mexico); and Ramsés Giovanni (Panama). The contest was sponsored by the IDB Information and Communication Technology for Development Division.
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Inside and Out: Recent Trends in the Arts of the Dominican Republic. Inter-American Development Bank, August 2008. http://dx.doi.org/10.18235/0008270.
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Presents an exhibition of Eight artists, four living in the Dominican Republic and the other four abroad, comprise the exhibition which addresses issues of originality, innovation, displacement, and identity, among others. The exhibition was run from August 25 to November 7, 2008. A full-color catalogue in English and Spanish was available to the public. Photographs of the artworks on exhibit was available upon request.
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At the Gates of Paradise: Art of the Guaraní of Paraguay. Inter-American Development Bank, September 2005. http://dx.doi.org/10.18235/0008210.
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The exhibit unites a number of artistic expressions of the Guaraní Indians of Paraguay, from the colonial period to the present. Include 65 pieces including statuary, both sacred and secular, photographs, videos, and contemporary art. All of the art works allow for a better understanding of the Guaraní culture that transmits knowledge fundamentally through an oral tradition, but has also come to assimilate a number of influences, modifying them to their own needs. The exhibition was open at the Art Gallery of the Cultural Center of the Inter-American Development Bank on September 2005.
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The Art of Belize, Then and Now. Inter-American Development Bank, August 2002. http://dx.doi.org/10.18235/0006432.
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The exhibition gives an overview of contemporary visual arts in Belize, and features works representing Belize City and the country¿s Mayan past, with artifacts and photographs documenting the Mayan sites of Lamanai, Xunantunich and Caracol. The exhibition was organized with logistical support from the IDB Country Office in Belize and its Representative Mr. Hugo Souza, and the collaboration of the Museums of Belize, the Image Factory Foundation, and the Craig Family Collection. Artists such as Gilvano Swasey, Michael Gordon, Jeannie Shaw, Yasser Musa, Mercy Sabal, Jules Vásquez, Ivan Duran, Damian Perdomo, Benjamin Nicholas, and George Gabb are included.
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Highlights from the Collection of the Art Museum of the Americas of the Organization of American States (OAS): Outstanding works by artists from the Spanish, English, French, and Dutch Speaking Caribb. Inter-American Development Bank, August 2007. http://dx.doi.org/10.18235/0008217.
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This paper presents a selection of 39 important works (paintings, sculptures, drawings, engravings and photographs) by recognized Caribbean artists from Barbados, Jamaica, The Bahamas, Trinidad and Tobago, Haiti, Dominican Republic, Puerto Rico, and Suriname, and early Cuban masters such as Amelia Peláez, Juan José Sicre and Mario Carreño, in the collection of the OAS Art Museum of the Americas, on loan to the IDB Cultural Center for this exhibition.