Artículos de revistas: "'Art of Place"

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Bonaventura, Paul. "ART WORKS - PLACE". Art Book 12, n.º 3 (agosto de 2005): 41–42. http://dx.doi.org/10.1111/j.1467-8357.2005.00575.x.

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Shavkatovich, Khalilov Ruslan. "PENCIL IN FINE ART THE PLACE OF COMPOSITION". CURRENT RESEARCH JOURNAL OF PEDAGOGICS 03, n.º 04 (1 de abril de 2022): 67–72. http://dx.doi.org/10.37547/pedagogics-crjp-03-04-15.

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The article is devoted to the theoretical analysis of academic painting and the basics of graphic drawing in the practical studies of fine art as well as the methodology of teaching the role of drawing in painting.

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3

Surakul, Saral. "Visual Art, 1st Place". Journal of Interior Design 36, n.º 1 (8 de septiembre de 2010): 57–59. http://dx.doi.org/10.1111/j.1939-1668.2010.01052.x.

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4

Gloeckler, Tad. "Visual Art, 2nd Place". Journal of Interior Design 36, n.º 1 (8 de septiembre de 2010): 60–62. http://dx.doi.org/10.1111/j.1939-1668.2010.01053.x.

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5

Hotvedt, Paul. "Place, art, and self". cultural geographies 13, n.º 1 (enero de 2006): 156. http://dx.doi.org/10.1191/1474474006eu348xx.

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Yildiz, Derya. "From non-place to place: Place-making through relational art". Metaverse Creativity 5, n.º 1 (1 de junio de 2015): 39–50. http://dx.doi.org/10.1386/mvcr.5.1.39_1.

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7

Taylor, Katherine Fischer. "Architecture's Place in Art History: Art or Adjunct?" Art Bulletin 83, n.º 2 (junio de 2001): 342. http://dx.doi.org/10.2307/3177212.

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8

Ward, Miranda. "The Art of Writing Place". Geography Compass 8, n.º 10 (octubre de 2014): 755–66. http://dx.doi.org/10.1111/gec3.12164.

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9

Bunk[sbreve]e, Edmunds V. "Place, Art, and Self. Toward a Geography of Art". Annals of the Association of American Geographers 95, n.º 3 (septiembre de 2005): 697–700. http://dx.doi.org/10.1111/j.1467-8306.2005.00482_3.x.

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10

Shkandrii, N. Y. "THE PLACE OF ART IN PAINTING". Design. Materials. Technology, n.º 4 (2021): 113–18. http://dx.doi.org/10.46418/1990-8997_2021_4(64)_113_118.

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11

Blandy, Douglas y Elizabeth Hoffman. "Toward an Art Education of Place". Studies in Art Education 35, n.º 1 (1993): 22. http://dx.doi.org/10.2307/1320835.

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12

Dyke, Jan Van. "Art and Place: The Local Connection". Arts Education Policy Review 100, n.º 3 (enero de 1999): 36–40. http://dx.doi.org/10.1080/10632919909599463.

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Serour, Gamal I., Ahmed G. Serour, Yehia El Faysal y Youmna Islam. "The place of ART in Africa". Global Reproductive Health 4, n.º 2 (2019): e27. http://dx.doi.org/10.1097/grh.0000000000000027.

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14

Leo, John. "Category: Eye as Art—2nd Place". Journal of Cataract and Refractive Surgery 46, n.º 10 (octubre de 2020): 1432. http://dx.doi.org/10.1097/j.jcrs.0000000000000376.

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15

Graham, G. "Art and Architecture: A Place Between". British Journal of Aesthetics 48, n.º 1 (1 de enero de 2008): 100–101. http://dx.doi.org/10.1093/aesthj/aym048.

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16

Battista, Kathy. "Art and Architecture: A Place Between". Journal of Architecture 14, n.º 5 (octubre de 2009): 635–38. http://dx.doi.org/10.1080/13602360903187501.

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17

Lippard, Lucy R. "Frank Day: Inside Place, Inside Art". Museum Anthropology 24, n.º 2-3 (septiembre de 2000): 30–35. http://dx.doi.org/10.1525/mua.2000.24.2-3.30.

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18

Mackenzie, A. Fiona D. "Place and the art of belonging". cultural geographies 11, n.º 2 (abril de 2004): 115–37. http://dx.doi.org/10.1191/1474474004eu295oa.

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19

Visconti, Luca M., John F. Sherry, Stefania Borghini y Laurel Anderson. "Street Art, Sweet Art? Reclaiming the “Public” in Public Place". Journal of Consumer Research 37, n.º 3 (octubre de 2010): 511–29. http://dx.doi.org/10.1086/652731.

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20

Graham, Mark A. "Art, Ecology and Art Education: Locating Art Education in a Critical Place-based Pedagogy". Studies in Art Education 48, n.º 4 (julio de 2007): 375–91. http://dx.doi.org/10.1080/00393541.2007.11650115.

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21

Nemchenko, Lilya. "Vadim Abdrashitov’s workshop: a place for discipline, a place for art". Studies in Russian and Soviet Cinema 13, n.º 2 (4 de mayo de 2019): 217–25. http://dx.doi.org/10.1080/17503132.2019.1595381.

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22

Popper, Frank. "The Place of High-Technology Art in the Contemporary Art Scene". Leonardo 26, n.º 1 (1993): 65. http://dx.doi.org/10.2307/1575783.

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23

HEIN, HILDE. "Symposium: Public Art,What Is Public Art?: Time, Place, and Meaning". Journal of Aesthetics and Art Criticism 54, n.º 1 (1 de diciembre de 1996): 1–7. http://dx.doi.org/10.1111/1540_6245.jaac54.1.0001.

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24

Lima, Álvaro Luís. "The Place of Socialism in African Art". African Arts 54, n.º 3 (2021): 10–13. http://dx.doi.org/10.1162/afar_a_00595.

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25

Middle, Sarah, Ryan Horne, David A. McMeekin, Chiara Zuanni y Alex Butterworth. "Geographies of Place in Digital Art History". International Journal of Humanities and Arts Computing 16, n.º 1 (marzo de 2022): 94–109. http://dx.doi.org/10.3366/ijhac.2022.0279.

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Art history research examines objects as embedded in a web of relationships, including multiple spatial dimensions (e.g. of the materials, of the artist, of the cultural influences, of the museum collection, and of the temporary exhibitions). However, this richness of nuances is not yet fully encompassed in Linked Open Data standards. This paper aims to examine how the multiplicity of places entangled in art objects can be represented within existing vocabularies (Getty Thesaurus of Geographic Names, Geonames, Pleiades, Trismegistos), ontologies ( CIDOC CRM, Europeana Data Model, Linked Ancient World Data, Wikidata, LIDO) and interconnection formats (Pelagios, World Historical Gazetteer, SENESCHAL, Linked Art). In doing so, this article raises a series of questions concerning the potential and limitation of current solutions for representing geographical information. It highlights the needs for inclusive, interoperable, open and accessible features in LOD systems in spatial humanities and it traces possible areas of inquiry for further research. The article argues that there is the need to develop more granular and comprehensive solutions for encompassing the multiplicity of places that can be enclosed in an art object, and its itineraries across time and space.

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26

Watts, Robert. "A Place for Beauty in Art Education". International Journal of Art & Design Education 37, n.º 1 (febrero de 2018): 149–62. http://dx.doi.org/10.1111/jade.12185.

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27

van Ham, Peter. "Place Branding: The State of the Art". ANNALS of the American Academy of Political and Social Science 616, n.º 1 (marzo de 2008): 126–49. http://dx.doi.org/10.1177/0002716207312274.

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28

&, Lowell; quot, Ben& quot, Bennion y Jerry Rohde. "Reflections on the Art of Place Writing". Geographical Review 91, n.º 1/2 (enero de 2001): 472. http://dx.doi.org/10.2307/3250850.

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29

Puleo, Thomas. "Art-making as place-making following disaster". Progress in Human Geography 38, n.º 4 (23 de enero de 2014): 568–80. http://dx.doi.org/10.1177/0309132513512543.

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30

BENNION, LOWELL “BEN” y JERRY ROHDE. "REFLECTIONS ON THE ART OF PLACE WRITING". Geographical Review 91, n.º 1-2 (21 de abril de 2010): 472–79. http://dx.doi.org/10.1111/j.1931-0846.2001.tb00503.x.

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31

Schaaf, Rebecca, Julieann Worrall-Hood y Owain Jones. "Geography and art: encountering place across disciplines". cultural geographies 24, n.º 2 (19 de octubre de 2016): 319–27. http://dx.doi.org/10.1177/1474474016673068.

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This article summarises a project undertaken at the Newton Park campus of Bath Spa University over 1 week in October 2015. The project provided a space for interdisciplinary collaborations between geography and art students to explore the commonalities and differences in how they saw, interpreted and creatively re-presented the campus, using a variety of methods. This article outlines the project and reflects on the processes, outcomes, and challenges of collaboration. It highlights how this approach can enhance student learning experiences, by facilitating more interdisciplinary collaboration across the sciences, arts and humanities, and social sciences. In doing so, it explores the potential and pitfalls of collaborative cultural geography in practice across disciplines.

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32

Webb, Jeff A. "Culture, Art, and the Sense of Place". Acadiensis: Journal of the History of the Atlantic Region / Revue d’histoire de la region atlantique 46, n.º 1 (2017): 201–6. http://dx.doi.org/10.1353/aca.2017.0012.

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33

Marques, Lénia y Greg Richards. "The Dimensions of Art in Place Narrative". Tourism Planning & Development 11, n.º 1 (5 de noviembre de 2013): 1–12. http://dx.doi.org/10.1080/21568316.2013.852990.

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34

Heilbrun, James. "Art and Culture as Central Place Functions". Urban Studies 29, n.º 2 (abril de 1992): 205–15. http://dx.doi.org/10.1080/00420989220080271.

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35

Maryam Khamidovna Ashurova. "Theater is a sacred place". International Journal on Integrated Education 3, n.º 8 (29 de agosto de 2020): 152–54. http://dx.doi.org/10.31149/ijie.v3i8.554.

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Puppet theater is an integral part of our ancient and rich culture, which differs from other types of art through its colorful and unique creativity. At the same time it is the cradle of all theatrical art forms. Its roots have been enriched, polished and developed by preserving the folklore, traditions, customs and national traditions of our people.

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36

Bae-Dimitriadis, Michelle. "Land-Based Art Criticism: (Un)learning Land Through Art". Visual Arts Research 47, n.º 2 (1 de diciembre de 2021): 102–14. http://dx.doi.org/10.5406/visuartsrese.47.2.0102.

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Abstract This article provides an overview of how land-based settler colonial critique can reorient art criticism and art education to expand the scope of art and art practice to critical considerations of land politics and social justice, particularly in terms of the repatriation of Indigenous lands. In particular, land-based perspectives can help to rethink place/land by offering decolonizing methods for critiquing Western works of art that address place. Art educators’ ability to understand and critique settler colonialism in art has been hindered by Eurocentric art criticism. This article seeks to reveal settler colonial imperatives and ambitions regarding land through a critical analysis of American landscape paintings and land art. This piece further examines contemporary Indigenous artists’ site-specific works through adopting decolonial, land-based inquiry. Land-based art criticism interrupts the dominant mode of art inquiry to more comprehensively analyze art associated with place/land and expand the scope of social, cultural, and political understandings of social equity.

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37

Sansão Fontes, Adriana, Fernando Espósito y Sergi Arbusà. "Ar-quiteturas. Os infláveis como estratégia de reinterpretação do lugar". Revista Prumo 4, n.º 7 (15 de noviembre de 2019): 138–51. http://dx.doi.org/10.24168/revistaprumo.v4i7.1131.

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Architecture, a discipline called to design the living places, usually operates within a logic that has as main objective welcoming human acts. Its status as a built object requires an adequate response not only material, structural, spatial and environmental, but also in meeting the most vital demands of these acts. Art, on the other hand, can respond with almost absolute freedom, uncompromising with the proper habits of living, in which the act of dwelling can be questioned, freeing itself from its responsibilities related to life. This paper presents a clipping of the work of the artistic collective Penique Productios - the inflatables - their references and methodology, highlighting two interventions in Rio de Janeiro, carried out in a partnership between Penique, DAU PUC-Rio and FAU/UFRJ. The common denominator is to establish a connection between architecture, city and art, through large, ephemeral and habitable collective works that dialogue with the existing place, stimulating its reinterpretation. Key-Words: Inflatables, ephemeral interventions, site-specific interventions, contemporary art

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38

Hanquinet, Laurie. "Place and Cultural Capital: Art Museum Visitors Across Space". Museum and Society 14, n.º 1 (9 de junio de 2017): 65–81. http://dx.doi.org/10.29311/mas.v14i1.677.

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In the establishment of people’s lifestyles, places, and especially cities, havebecome central arenas for display and consumption, and have become part ofthe aesthetic experience itself. These changes have affected the composition ofcultural capital, which may have then taken an urban dimension. Art museumvisitors, often associated with highbrow culture, constitute an excellent case studyto explore the links between cultural capital and place. Based on a survey of 1900visitors of the six main museums of modern and contemporary art in Belgium,this article will focus on the distribution of the audience characterized by theircultural tastes and activities across the Belgian territory (through their postcodes).It shows that visitors mainly come from areas with high and moderate densityand that the socio-demographic but also urban characteristics of their place ofresidence can be related to the way visitors’ cultural capital is composed. Yet,it also suggests that places like cities (just like museums) form meeting places,in which co-exist and interact different stories, different trajectories and, as thisarticle shows, a multiplicity of lifestyles.Keywords: Museum visitors; Pierre Bourdieu; cultural capital; audiences; Belgium.

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39

Norman, Katharine. "Listening Together, Making Place". Organised Sound 17, n.º 3 (15 de agosto de 2012): 257–65. http://dx.doi.org/10.1017/s1355771812000143.

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In this paper I examine metaphors of place and place making, with reference to the phenomenological tradition and in particular Edward S. Casey, in relation both to sound-based music and art concerned with environment, and to listening and environmental sound. I do so in order to consider how aspects of place-making activity might be incorporated in aurally perceived works, and elicited in listeners, so that we might perhaps achieve a greater sense of ‘connectedness’ to sound-based music and art that is itself about – in some way – our connectedness to the environment. Three works, by Feld, Monacchi and López, form the basis for investigation.

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40

Brett, David. "From the Local to the Global: The Place of Place in Art". Circa, n.º 29 (1986): 17. http://dx.doi.org/10.2307/25557107.

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41

Ball, E. L. "The Place Within: Scott Russell Sanders on Literature and Art of Place". Interdisciplinary Studies in Literature and Environment 15, n.º 2 (1 de julio de 2008): 137–55. http://dx.doi.org/10.1093/isle/15.2.137.

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42

Mccarthy, John. "Regeneration of Cultural Quarters: Public Art for Place Image or Place Identity?" Journal of Urban Design 11, n.º 2 (junio de 2006): 243–62. http://dx.doi.org/10.1080/13574800600644118.

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43

Woodward, Robin. "People, Place, Public: The Public Art of Nic Moon". Back Story Journal of New Zealand Art, Media & Design History, n.º 4 (19 de septiembre de 2018): 19–37. http://dx.doi.org/10.24135/backstory.vi4.3.

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In the realm of public art, New Zealand artist Nic Moon’s practice extends from permanent outdoor sculpture to ephemeral, site-responsive installations and staged public events. Such a range spans the trajectory of contemporary public art, a genre which theorists struggle to define categorically: historical precedents for public art offer no template for the present or for the future. Working in conjunction with mana whenua iwi, local government agencies, art institutions, museums, architects and the community¸ Moon creates large-scale object art as well as temporary and relocatable works, circumstantial installations, public artworks as utilities, and ephemeral art with a short life span. Her public art encompasses a broad spectrum of forms while speaking constantly of human ecology - the interdisciplinary study of relationships between people, our social systems and our environments. It is these relationships that underpin the work of Moon who, in common with new genre public artists internationally, is prepared to work outside the historical framework of public art to engage her audience in socially conscious, political art.

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44

BAYRAK, Tekin y Tolga ŞENOL. "TÜRK KÜLTÜRÜNE AİT BİRER KÜLTÜREL MİRAS OLAN SEMBOLLERİN TÜRKİYE’DE MODERN SANAT VE SONRASI DÖNEMDE RESİM SANATINDA KULLANILMASI". SOCIAL SCIENCE DEVELOPMENT JOURNAL 7, n.º 33 (15 de septiembre de 2022): 57–69. http://dx.doi.org/10.31567/ssd.725.

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It is thought that in the 20th century and later period, the paintings in which the symbols of Turkish culture are used do not take place sufficiently in the literature. In this context, it is important to support the production of works within the relevant framework and to increase the recognition of existing ones. The aim of this study; To explore, understand and interpret the use of symbols, which have an important place in Turkish culture, in modern art and post-painting art in Turkey in terms of form-meaning relationship. The study was carried out according to the hermeneutic pattern in line with the purpose. Three works by Bedri Rahmi Eyüboğlu, Erol Akyavaş, Rauf Tuncer, Hüsamettin Koçan and Süleyman Saim Tekcan, one of the pioneers of Turkish painting art, formed the study group. The document method was used as a data collection tool, and the data were analyzed by concept analysis and artifact review method. It has been determined that the symbols, which are the dominant elements in the related works, are presented to the audience in different styles. The fact that the symbols of Turkish culture were successfully synthesized with the universal plastic expression in the examples of works discussed in terms of form and meaning relationship was considered important in the context of the possibility of reaching wider masses. Keywords: Bedri Rahmi Eyüboğlu, Erol Akyavaş, Rauf Tuncer, Hüsamettin Koçan, Süleyman Saim Tekcan

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45

Lotman, Juri. "The place of art among other modelling systems". Sign Systems Studies 39, n.º 2/4 (1 de diciembre de 2011): 249–70. http://dx.doi.org/10.12697/sss.2011.39.2-4.10.

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This article by Juri Lotman from the third volume of Trudy po znakovym sistemam (Sign Systems Studies) in 1967, deals with the problem of artistic modelling. The general working questions are whether art displays any characteristic traits that are common for all modelling systems and which could be the specific traits that can distinguish art from other modelling systems. Art is seen as a secondary modelling system, more precisely, as a play-type model, which is characterised simultaneously by practical and conventional behaviour and constant awareness of the possibility of alternate meanings to the one that is currently being perceived. At the same time art has play-like elements but is not the same as play, since play is inherently rule-bound, whereas art is a more flexible model the purpose of which is truth. Art is a special type of modelling system, since it is on one hand suitable for storing very large amount of complex information, but on the other hand it can increase the stored information and transform the consumer.

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46

Münchberg, Katharina. "Die Potentialität des Kunstwerks". Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft Band 51. Heft 2 51, n.º 2 (2006): 6–23. http://dx.doi.org/10.28937/1000107601.

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Der Begriff des Kunstwerks ist in seiner grundlegenden Bedeutung durch die Wende zur ästhetischen Erfahrung in Vergessenheit geraten. Aber das Kunstwerk kann durch den Akt der ästhetischen Erfahrung nicht vollständig erfaßt werden; es ist vielmehr der Ort, an dem der wesentliche Bezug zwischen ästhetischer und existentieller Erfahrung hervortritt. Das Kunstwerk ist reine Potentialität, die in der Aktualität der ästhetischen Erfahrung zur Erscheinung kommt. Jenseits der Differenz von Potentialität und Aktualität, von Objekt und Subjekt existiert das Kunstwerk im ontologischen Modus des Sein-Könnens, des Offen-Seins für die Welt. The concept and central place ›work of art‹ has been neglected by the turn to aesthetic experience. But the work of art cannot be grasped fully by the act of aesthetic experience; it is rather a place, where the essential relation between aesthetic and existential experience becomes known. The work of art is mere potentiality, which appears in the actuality of aesthetic experience. Beyond the difference of potentiality and actuality, object and subject, the work of art exists in the ontological mode of can-being, of being open to the world.

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47

Gralińska-Toborek, Agnieszka. "Dual Place of Street Art – the City vs the Internet". Acta Universitatis Lodziensis. Folia Philosophica. Ethica-Aesthetica-Practica, n.º 30 (30 de diciembre de 2017): 99–109. http://dx.doi.org/10.18778/0208-6107.30.07.

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Street art (or more broadly urban art), as the name suggests, has its own specific place, which is the street. However one would be mistaken to think that this type of art can only be seen there. Most street art lovers know the works of their favourite artists primarily through the Internet, not only because this kind of art is ephemeral or not easily accessible (for example, due to its dangerous or exotic locations), but because it is perhaps the best documented art that has been created in the world. For artists and lovers of street art, the Internet has become a common space to share photos. More often than not, the Internet also becomes the only place where artistic ideas exist. Paradoxically, such art, which was supposed to be the nearest to the viewer in the physical sense, has become the nearest in the virtual sense. One can, however, hope that neither consumers of art. nor artists will have to give up their direct experience of art that builds our polysensory sensitivity.

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48

Arya, Rina. "Neglected Place of Religion in Contemporary Western Art". Fieldwork in Religion 6, n.º 1 (20 de enero de 2012): 27–46. http://dx.doi.org/10.1558/firn.v6i1.27.

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In this article I am going to examine some of the artwork of the American video artist Bill Viola to demonstrate the experiences of the religious to which it can give rise. Viola’s work is a meditation on the central questions and issues in life, which include: why are we here? Where are we going? And what it feels to be alive. His work is intensive and engages the intellectual, emotional and sensory aspects of our being. Contemporary art is a hitherto neglected arena of fieldwork in religious studies. Equally, religion is disregarded in critical debates on contemporary art, and regarded as passé and irrelevant to modern life. The resistance on both sides is to the detriment of the mutual study and development of both religious studies and art. Art has the propensity to convey religious ideas and to evoke sentiments, which can be described as religious. We can look to contemporary art to uncover notions about the religious in twentieth and twenty first century life. My study on Viola will demonstrate the prevalence of religious experiences that his work evokes. In a post-secular Britain, where religion no longer upholds universal significance, contemporary art provides a channel to revive religious understanding vis-à-vis the spiritual, and to make it contemporary and resonant.

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49

Dale, Sharon. "Martha Holt: An Art of Sense and Place". Woman's Art Journal 14, n.º 2 (1993): 22. http://dx.doi.org/10.2307/1358446.

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50

Hein, Hilde. "What Is Public Art?: Time, Place, and Meaning". Journal of Aesthetics and Art Criticism 54, n.º 1 (1996): 1. http://dx.doi.org/10.2307/431675.

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Artículos de revistas sobre el tema "'Art of Place"

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