Journal articles on the topic 'Space in art'

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1

Gollifer, Sue. "Art Space." Digital Creativity 22, no. 2 (June 2011): 115–26. http://dx.doi.org/10.1080/14626268.2011.579403.

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2

Miodownik, Mark. "Space art." Materials Today 6, no. 11 (November 2003): 13. http://dx.doi.org/10.1016/s1369-7021(03)01115-5.

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3

Petrič, E., I. L. Schlacht, and B. Foing. "Art & Space: Eva Petrič's Art Project for Space and in Space." Universal Journal of Geoscience 4, no. 3 (June 2016): 72–79. http://dx.doi.org/10.13189/ujg.2016.040303.

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4

Rob Latham. "Space Age Art." Science Fiction Studies 42, no. 3 (2015): 597. http://dx.doi.org/10.5621/sciefictstud.42.3.0597.

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5

Gollifer, Sue. "Art Space: editorial." Digital Creativity 22, no. 4 (December 2011): 289–92. http://dx.doi.org/10.1080/14626268.2011.634422.

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6

Gollifer, Sue, Andy Lomas, William Latham, Stephen Scrivener, Sean Clark, and Daniel Brown. "Art Space: CAS50." Digital Creativity 29, no. 4 (October 2, 2018): 264–73. http://dx.doi.org/10.1080/14626268.2018.1534476.

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7

Peden, Douglas D. "Wave Space Art." Leonardo 37, no. 5 (October 2004): 376–82. http://dx.doi.org/10.1162/0024094041955999.

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8

Franceschet, Massimo. "Art for Space." Journal on Computing and Cultural Heritage 13, no. 3 (October 5, 2020): 1–9. http://dx.doi.org/10.1145/3402443.

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9

Philippe, Jean-Marc. "Space Art: A Call for a Space Art Ethics Committee." Leonardo 23, no. 1 (1990): 129. http://dx.doi.org/10.2307/1578477.

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10

Jiehong, Jiang. "Chinese art outside the art space." Journal of Contemporary Chinese Art 5, no. 2 (September 1, 2018): 111–15. http://dx.doi.org/10.1386/jcca.5.2-3.111_2.

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11

Karimimoshaver, Mehrdad, Bahare Eris, Farshid Aram, and Amir Mosavi. "Art in Urban Spaces." Sustainability 13, no. 10 (May 17, 2021): 5597. http://dx.doi.org/10.3390/su13105597.

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This study investigates the effect of art on promoting the meaning of the urban space. After considering the semantic dimension of the urban space and the mechanism of transferring the meanings of art through the views of experts, a model is presented for examining the art’s cooperation in promoting urban space meaning. In the first stage, the categories of space meanings influenced by art were extracted using the qualitative method of interpretative phenomenological analysis, and by examining 61 in-depth interviews in 6 urban spaces eligible for urban art in Tehran. In the second stage, these categories were surveyed in these spaces through 600 questionnaires after converting to the questionnaire items. Based on the results, “experience and perception capability”, “social participation”, and “relationship with context” were the main themes of the semantic relationships between art and urban space. Further, the lower scores related to the theme of “social participation” in the quantitative investigations indicate that this theme was weaker than the other themes in promoting the meaning of the urban space through the art in the selected urban spaces.
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12

Gollifer, Sue. "Art Space: ACM SIGGRAPH Art Gallery 2014." Digital Creativity 25, no. 4 (October 2, 2014): 360–68. http://dx.doi.org/10.1080/14626268.2014.972060.

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13

Gintere, Ieva. "ART SPACE: AN EXPERIMENTAL DIGITAL ART GAME." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 5 (May 20, 2020): 649. http://dx.doi.org/10.17770/sie2020vol5.4817.

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The article examines the discourse concerning modern game theory and suggests a new method of research and knowledge transfer in the field of digital art game creation. The method is embodied in the new game Art Space that utilizes current research results in the field of contemporary aesthetics. Art Space is an experimental digital game that is being created in collaboration between researcher, Dr.art. Ieva Gintere (Vidzeme University of Applied Sciences, Latvia) and the game artist, Mag.art. Kristaps Biters (Liepāja University, Latvia) within the framework of a post-doctoral project. The concept of this new art game arises from the historical heritage of modern art. The aim of the game is knowledge transfer: the author has been carrying out research into contemporary digital games in order to transfer the results of the research to develop an appreciation and understanding of aesthetics in Art Game’s players. The game links aesthetics to art games by identifying modern trends such as pixel art, glitch, noise, and others. Due to the dearth of written information on the subject of modern art heritage in digital games, the study presents an innovative approach to art gaming explaining modern art’s cultural backgrounds. The methods used are audio-visual and stylistic analyses of games as well as studies of the existing literature. The project hopes to raise the interest of the wider public concerning contemporary art and music, point out the newest creative tendencies in art, and suggest potential changes in the language of art in the near future. This paper continues previously published research that helped to create the concept and design of Art Space, and focuses on the trends of photorealism and futurism.
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14

Ho, Christopher, and Rosalyn Deutsche. "The Space of Art." PAJ: A Journal of Performance and Art 20, no. 1 (January 1998): 118. http://dx.doi.org/10.2307/3245885.

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15

Boyce, Katherine. "Art in Outer Space." Leonardo 22, no. 3/4 (1989): 457. http://dx.doi.org/10.2307/1575452.

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16

Clarke, Jenni. "Deep space abstract art." Practical Pre-School 2013, no. 145 (February 2013): ix—x. http://dx.doi.org/10.12968/prps.2013.1.145.ix.

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17

Comte, Pierre, Sharon Lipsey, and Philippe Willekens. "Space art and education." Acta Astronautica 41, no. 4-10 (August 1997): 701–5. http://dx.doi.org/10.1016/s0094-5765(98)00068-x.

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18

Csontos, Dan. "The art of space." Nature Physics 4, no. 11 (November 2008): 828. http://dx.doi.org/10.1038/nphys1132.

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19

Mitrache, Georgică. "Architecture, Art, Public Space." Procedia - Social and Behavioral Sciences 51 (2012): 562–66. http://dx.doi.org/10.1016/j.sbspro.2012.08.206.

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20

Clarke, David. "Para/site art space." Third Text 14, no. 50 (March 2000): 73–86. http://dx.doi.org/10.1080/09528820008576838.

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21

Shabout, Nada. "Whose Space Is It?" International Journal of Middle East Studies 46, no. 1 (February 2014): 163–65. http://dx.doi.org/10.1017/s0020743813001347.

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Designers and architects argue that interaction in public spaces is the product of relations between physical, cultural, social, and aesthetic components. As an art historian, my interest in and understanding of the production of public space is necessarily linked to its visual construction and to public art in particular. Urban planners have always included art in public spaces as a means of forming relationships between the people and the space. Governments have similarly understood the political significance of public space and its power to make meaning and have commissioned art accordingly. This essay reflects on the role of aesthetics and public art in the production and transformation of the modern public space in the Arab world by considering two examples from Cairo and Baghdad.
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22

Bureaud, Annick. "Did You Say Space Art? Leonardo's Commitment to Space Art, 35 Years On." Leonardo 38, no. 5 (October 2005): 374–75. http://dx.doi.org/10.1162/leon.2005.38.5.374.

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23

Kang, Taehwan, and Jeongyoon Kang. "A Study on Heterotopia and Private Space in Contemporary Art." Korean Society of Culture and Convergence 45, no. 1 (January 31, 2023): 523–34. http://dx.doi.org/10.33645/cnc.2023.01.45.01.523.

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The purpose of this study is to discuss the important spatiality in contemporary art. Contemporary spaces show a variety of shapes and scopes, from independent private spaces to wide open public spaces. This aspect of space also appears in the art exhibition hall. Therefore, the purpose of this thesis is to examine the form of space and the viewer's visual perception in installation art among contemporary art fields. Chapter 2 examines the spatiality of installation art and discusses the visual and perceptual experiences felt in space. Chapter 3 examines private space and private space, which are the minimum units of spatial classification. Through the installation work presented in this thesis, it is possible to confirm the space that the viewer remembers and the new spatial perception that occurs in the process of experiencing the work. The last chapter discusses the new space created by the artist and the audience, the space of heterotopia that is both private and public. In this way, it is thought that it can be applied to various fields by confirming the scalability and scalability of thinking about space that contemporary art pursues.
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24

Çevik, Naile, Mehtap Bingöl, and Tülay Durmuş. "KAMUSAL ALAN BAĞLAMINDA KENTSEL MEKÂNLARDA ÇAĞDAŞ SANAT YANSIMALARI." E-journal of New World Sciences Academy 14, no. 4 (November 1, 2019): 284–97. http://dx.doi.org/10.12739/nwsa.2019.14.4.d0245.

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25

Vermeylen, Saskia. "Space Art as a Critique of Space Law." Leonardo 54, no. 1 (February 2021): 115–24. http://dx.doi.org/10.1162/leon_a_01990.

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This article traces the shared history of space law and space art, putting a spotlight on the work of African artists who retell the history and future of space travel from the perspective of the African archive, producing a more inclusive history for humanity than that produced by the seemingly lofty ideals of national and international space laws.
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26

Ogawa, Go. "Effect art that dominates space." Cardiovascular Diagnosis and Therapy 8, no. 5 (October 2018): 694–95. http://dx.doi.org/10.21037/cdt.2018.01.05.

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27

Šnédarová, Jana. "Zlín: Public Art and Space." International Journal of Social, Political and Community Agendas in the Arts 17, no. 2 (2022): 35–49. http://dx.doi.org/10.18848/2326-9960/cgp/v17i02/35-49.

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28

Sedlovskiy, Anatoliy Anatolievich. "Space in Art and Cinema." Journal of Flm Arts and Film Studies 3, no. 2 (May 15, 2011): 58–64. http://dx.doi.org/10.17816/vgik3258-64.

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Cinema is a synthetic art form which has accumulated the experience of theatre, literature, music and fine arts. The article investigates the influence of painting on cinema in terms of filling the screen space and artistic assimilation of the linear, spatial and tonal perspective, light and color treatment.
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29

Miller, Ron. "The Archaeology of Space Art." Leonardo 29, no. 2 (1996): 139. http://dx.doi.org/10.2307/1576350.

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30

Sokolovska, S. F. "ART SPACE OF CONTEMPORARY DRAMA." Вісник Житомирського державного університету імені Івана Франка. Філологічні науки, no. 1(94) (July 7, 2021): 49–57. http://dx.doi.org/10.35433/philology.1(94).2021.49-57.

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Sokolovska S. F.The study of the modern literary situation, in particular, new trends in drama, is a relevant task for literary criticism. The work of playwrights of the 90s of the twentieth century deserves special attention since the literary practice of this generation of artists caused a number of significant shifts in various formally substantive areas of drama. Indicative in this respect are the works of the modern German author R. Schimmelpfennig. In the process of literary study of the play «The Golden Dragon», an analytical model of a literary text has been built, which is correlated with the interpretation model of a literary work. The chronotope and structure of the narrative reflect the artistic picture of the world and the concept of personality. Creating these aspects of artistic reality, the playwright turns to the aesthetics of B. Brecht’s epic theater. First of all, this is the alienation effect, which occurs through seventeen roles that are distributed among five actors. However, the characters are not puppet heroes, human beings without identity, they play the role of storytellers, report events, addressing directly to the audience. The author’s presence is being augmented, which is realized in the epization of a dramatic text, in the author’s direct description of the characters, in the spatio-temporal organization of the work. The reality that the world of a multi-storey building reproduces in the play does not allow a person to realize themselves. Such a manifestation becomes possible in an imaginary world, in human consciousness. The acquisition of personal uniqueness, the establishment of deep, essential connections with other people occurs in an open, unlimited mental space.
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31

Jewesbury, Daniel. "Public Space & 'Public Art'." Circa, no. 98 (2001): 13. http://dx.doi.org/10.2307/25563756.

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32

Steiner, Jon. "The art of space management." Journal of Facilities Management 4, no. 1 (January 2006): 6–22. http://dx.doi.org/10.1108/14725960610644195.

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33

Cartlidge, Edwin. "The art of space-time." Science 359, no. 6371 (January 4, 2018): 41. http://dx.doi.org/10.1126/science.aar6576.

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34

jagodzinski, jan. "The Prosthetic Space of Art." Qualitative Inquiry 21, no. 6 (May 14, 2015): 510–19. http://dx.doi.org/10.1177/1077800415581887.

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35

Eaton, Lynn. "Hospital finds space for art." BMJ 336, no. 7652 (May 8, 2008): 1037.2–1037. http://dx.doi.org/10.1136/bmj.39566.641979.4e.

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36

KAWAGUCHI, Yoichiro. "The Art in Virtual Space." Journal of the Society of Mechanical Engineers 102, no. 971 (1999): 619–20. http://dx.doi.org/10.1299/jsmemag.102.971_619.

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37

Dunkley, Wayne. "Creating Space: Web Art Practice." Leonardo 38, no. 4 (August 2005): 276. http://dx.doi.org/10.1162/leon.2005.38.4.276.

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38

Harley, Ralph. "Edward Steichen's modernist art-space." History of Photography 14, no. 1 (January 1990): 1–22. http://dx.doi.org/10.1080/03087298.1990.10441018.

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39

Jarvis, Michael John. "Finding a space for art." International Journal of Education Through Art 10, no. 1 (March 1, 2014): 85–98. http://dx.doi.org/10.1386/eta.10.1.85_1.

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40

Bottinelli, Silvia. "Pedagogy, Art and Public Space." Public Art Dialogue 7, no. 1 (January 2, 2017): 57–69. http://dx.doi.org/10.1080/21502552.2017.1288539.

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41

Kotov, Nicholas A. "The art of empty space." Science 358, no. 6362 (October 26, 2017): 448. http://dx.doi.org/10.1126/science.aap8994.

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42

Gueorguiev, Manol, and Adrian Anagnost. "Pandemic Design: Art, Space, and Embodiment." Design Issues 38, no. 3 (2022): 5–19. http://dx.doi.org/10.1162/desi_a_00688.

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Abstract The COVID-19 pandemic has fundamentally altered experiences of space and engendered new spatial design tactics. This article discusses DIY pandemic design tactics used by U.S. microbusinesses to reshape embodied experiences of interior retail spaces, in relation to contemporary artworks. Over the course of the pandemic, large corporations developed standardized, mass-produced designs for pandemic wayfinding and interior demarcation. In contrast, many microbusinesses used DIY pandemic design tactics having formal qualities and phenomenological implications that resemble precedents in contemporary art. Although pandemic safety protocols could be seen as a form of social control, this article depicts their visualization in graphics and barriers as acts for reshaping collective space and as endangered forms of local, non-homogenized design.
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43

Demshina, A. Yu. "Dialogic building art space as a form of cultural development." Vestnik of Saint Petersburg State University of Culture, no. 2 (31) (June 2017): 44–48. http://dx.doi.org/10.30725/2619-0303-2017-2-44-48.

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Art space have become quite common. They play an important role in shaping the cultural landscape and the development of the modern city. On the example of the creative spaces of St. Petersburg and the author’s personal experience can be traced to the capacity and features of these locations. You can highlight a typology of self-organized commercial and non-commercial art spaces by type of activity, identify diff erences in communication and contemporary art spaces with informal organizations of the Soviet period. The difference of the art space of the events of contemporary art seems less pressure on the part of the organizers and the absence of persuasive verbal comments frequently
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44

Doyle, Denise. "Art, Virtual Worlds and the Emergent Imagination." Leonardo 48, no. 3 (June 2015): 244–50. http://dx.doi.org/10.1162/leon_a_00708.

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This paper presents a framework for the emergent imagination that arises out of the transitional spaces created in avatar-mediated online space. Through four categories of transitional space identified in artworks created in virtual worlds, the paper argues that, as the virtual remains connected to time, the imagination becomes connected to space. The author’s analysis of the imaginative effects of artworks presented in the two virtual (and physical) gallery exhibitions of the Kritical Works in SL project demonstrates a mode of artistic exploitation of the particular combination of user-generated and avatar-mediated space.
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45

Wang, Jing. "To Make Sounds inside a “Big Can”: Proposing a Proper Space for Works of Sound Art." Leonardo 49, no. 1 (February 2016): 38–47. http://dx.doi.org/10.1162/leon_a_00895.

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Creators of sound art consider sound as both a tangible reality and a conceptual term; sound art works rely on and use listening as their predominant mode of perception. The author contextualizes sound art in China and problematizes existing venues where sound art is performed and exhibited. She then suggests that a proper space is necessary to certain works of sound art, and she proposes the “big can” as an ideal venue, based upon previous experience with existing art spaces as well as the unique nature of sound art. Sound generates space; now it is time to make space for sound.
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46

Du, Wei, and Qian Li. "Analysis of the Visual Design and Expression Effect of Virtual Reality and Three-Dimensional Space Technology in Art Space." Mathematical Problems in Engineering 2022 (September 29, 2022): 1–14. http://dx.doi.org/10.1155/2022/2065720.

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The application of information technology has realized the transformation of people’s production and lifestyle and also promoted the improvement of people’s aesthetic level. Currently, the application of information technology in the art industry is getting stronger and stronger, and using its advanced methods and technologies of information display, this study aims to realize the exploration of art space under virtual reality technology to promote the study of the expression effect of visual design. This study proposes the use of virtual reality technology to guide the study of the effect of visual design expression in art spaces, which helps to analyze and solve a series of problems that objectively exist today in terms of single visual design and people’s aesthetic fatigue, and draws on the principles and algorithms of virtual reality technology to conduct research on the effect of visual design and expression in art spaces. In the experiment for the algorithm of the three-dimensional model, it can be seen from table that the score of one-dimensional space is around 4, the score of two-dimensional space is around 5.6, while the average score of three-dimensional space use is around 8.2; the score is very high, thus we get the following conclusion: three-dimensional space, no matter once or now, in the visual art of art space, as well as the expression effect is a great role, so the study of virtual reality. It is therefore of great vitality and social significance to study how virtual reality can be used to maximum effect in the visual arts and expressions of all art spaces.
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47

Grodach, C. "Art spaces, public space, and the link to community development." Community Development Journal 45, no. 4 (April 29, 2009): 474–93. http://dx.doi.org/10.1093/cdj/bsp018.

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48

Osaka, Takuro. "Art in the Space Age: Exploring the Relationship between Outer Space and Earth Space." Leonardo 37, no. 4 (August 2004): 273–76. http://dx.doi.org/10.1162/0024094041724571.

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The author's interest in Space Art has taken several forms, including project proposals for the effective use of the International Space Station, research on the theme of the possibility of art in outer space, and conducting interviews with astronauts. He has also performed experiments in a micro-gravity environment generated by parabolic flight. This article provides an account of his plans and the results of these experiments.
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49

Boy, Guy A. "STEAM for Space Leaders of Tomorrow: Human–Systems Integration as a Technique and an Art." New Space 7, no. 4 (December 1, 2019): 208–14. http://dx.doi.org/10.1089/space.2019.0031.

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50

Enhuber, Marisa. "Art, space and technology: how the digitisation and digitalisation of art space affect the consumption of art—a critical approach." Digital Creativity 26, no. 2 (April 3, 2015): 121–37. http://dx.doi.org/10.1080/14626268.2015.1035448.

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