Bibliografías temáticas / Visual arts

Literatura académica sobre el tema "Visual arts"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 30 de julio de 2024

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Artículos de revistas sobre el tema "Visual arts"

Kennedy, Brian. "Visual Arts: North". Circa, n.º 84 (1998): 3. http://dx.doi.org/10.2307/25563269.

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Dunne, Aidan. "Visual Arts: South". Circa, n.º 84 (1998): 3. http://dx.doi.org/10.2307/25563270.

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Pascoe, Robin, Judith Dinham, Neil C. M. Brown, Kath Grushka, Judith MacCallum y Peter Wright. "Visual Education - Repositioning Visual Arts and Design". International Journal of Learning: Annual Review 12, n.º 6 (2007): 77–86. http://dx.doi.org/10.18848/1447-9494/cgp/v14i06/45375.

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Poantă, Laura y Dan L. Dumitraşcu. "Anxiety in visual arts". Psihiatru.ro 1, n.º 52 (2018): 12. http://dx.doi.org/10.26416/psih.52.1.2018.1631.

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Čolakov, Nevena. "Art and visual arts". Sinteze, n.º 14 (2018): 67–78. http://dx.doi.org/10.5937/sinteze7-17339.

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Vilchis Esquivel, Luz del Carmen. "Intelligence in Visual Arts". International Journal of Arts Theory and History 8, n.º 3 (2014): 41–48. http://dx.doi.org/10.18848/2326-9952/cgp/v08i03/36257.

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Hanrahan, Siún. "Dublin: Outside Visual Arts". Circa, n.º 101 (2002): 76. http://dx.doi.org/10.2307/25563855.

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Walling, Donovan R. "Rethinking Visual Arts Education". Phi Delta Kappan 82, n.º 8 (abril de 2001): 626–31. http://dx.doi.org/10.1177/003172170108200813.

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Root-Bernstein, Robert. "Niko Tinbergen's Visual Arts". Leonardo 40, n.º 1 (febrero de 2007): 67–69. http://dx.doi.org/10.1162/leon.2007.40.1.67.

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Gloeckler, Tad. "Visual arts Arrived Perfect". Journal of Interior Design 32, n.º 3 (mayo de 2007): 91–92. http://dx.doi.org/10.1111/j.1939-1668.2007.tb00542.x.

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Tesis sobre el tema "Visual arts"

Paris, Lisa. "Visual arts history and visual arts criticism : Applications in middle schooling". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1999. https://ro.ecu.edu.au/theses/1240.

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Visual arts history and criticism occupy central positions in visual arts curriculum statements in Western Australia. This status is sustained by the belief that the study of visual arts history and criticism actively contributes to the education of the student as a "whole person". In reality however, rather than attending to the holistic education of students, the application of visual arts history and criticism in Western Australian schools tends to be pragmatic and instrumental - visual arts teachers often use visual art works as "learning aids" because they don't have time, interest or experience in dealing with visual arts works in any other way. While visual arts history and criticism offer the student a valuable life-skill worth acquiring for the contribution they could make to the student's autonomy and personal welfare, this understanding often seems a foreign concept for many classroom teachers. The difference between theorists' and teachers' understandings of the place and purpose of visual arts history and criticism provides an important area of inquiry requiring urgent attention. This research makes a foray into this domain with the purpose of shedding light on the content and methods used by middle school visual arts teachers and their students' perceptions of the content and methods. A qualitative descriptive study was selected for the research taking the form of semi-structured interviews with six teachers. An interview guide was used and transcripts deriving from this methodology were coded by way of reference to the original research questions and classifications which emanated from emergent themes. The teacher interviews were complemented by a questionnaire administered to one class of students from each of the six schools. Participating teachers were selected through a stratified sampling technique. Analysis of data was undertaken from a qualitative stance in the case of interview participants. Narrative-style reporting of interview content was employed to facilitate accurate representation of the teachers' perceptions of visual arts history and criticism at the middle school level. A quantitative analysis of students' questionnaires provided triangulation of methodology, ensuring greater levels of validity than would be afforded by qualitative methods alone. With pressure being applied by the impending implementation of the Curriculum Framework for Kindergarten to Year 12 Education in Western Australian Schools (1998) for the formal inclusion of Arts Responses (aesthetics, art criticism) and Arts in Society (art history), a pressing need exists for clear information about current professional practice. Findings indicated that a misalignment appears to exist between theoretical assumptions embedded in documentation supporting the implementation of the Framework and actual classroom teaching practice. The implications of such misalignment, albeit illustrated on a small scale, are that the initiatives of the Framework may not be sustainable in the longer term, precisely because they are built upon invalid assumptions about what teachers actually do. Whilst the size of the sample and scope of the research limits the generalisability of findings, this first foray may provide impetus for a more comprehensive and evaluative study at a later date.

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Roper, Robyn. "An investigation of the impact of visual culture on visual arts practice and visual arts education". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2005. https://ro.ecu.edu.au/theses/620.

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This research project is based on the premise that school students have a right to an education that assists them to "develop a sense of personal meaning and identity, and be encouraged to reflect critically on the ways in which that occurs." (Curriculum Frameworks, 1998, Values, Statement 2.2 Personal meaning: 325). Not only should education offer students a sense of well being, it should make a difference to their lives and foster an appetite for life long learning. A key ingredient that makes for a rich, fulfilling and rewarding life, is an understanding of visual culture, that according to Freedman (2003:1), "inherently provides context for the visual arts and points to the connections between popular and fine arts forms".

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Tanyeri, Gozde. "A visual arts center". Thesis, Virginia Polytechnic Institute and State University, 1996. http://hdl.handle.net/10919/53428.

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The thesis idea of "A Visual Arts Center" for the Nation's Capital came to life based on my desire to visual arts and artists, exhibition and working, under the same roof, and mainly to solve the problem of appreciation and ignorance towards arts. What I have observed was that Washington, D.C. is the Capital of the superpower Nation, the Capital of the U.S. government, the Capital of politics. "...In science, I found everything was very clear. Art? Art was always art appreciation, or reading poetry or looking at paintings to appreciate them and so on, but not making paintings, making poetry, making architecture. Art is still on the margin. It is not really absorbed or integrated into the whole. This goes away only by a deep educational system starting from the nursery on through the whole system." Walter Gropius, On Science and Art. The Visual Arts Center, in my vision, is a center where making, seeing, learning and touching become as one cultural activity. Appreciation of the arts literally lies at the back of learning more about the materials, ideas, styles and making things. One can only understand himself and his abilities through making things.
Master of Architecture

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Ingram, Robin. "The visual arts plant". Thesis, Virginia Polytechnic Institute and State University, 1986. http://hdl.handle.net/10919/52053.

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The Art Department at Virginia Polytechnic Institute and State University is based in the leased space of the Armory and in the basement of Owens Hall. The Art Department also holds classes in as many as four other buildings on campus. My proposal is to consolidate the Art Department’s activities into one formal building. I call this building The Visual Arts Plant. The Visual Arts Plant contains the rooms, equipment, machinery, tools, instruments, and fixtures necessary to facilitate and promote a visual arts education. This thesis is a documentation of my ideas for The Visual Arts Plants.
Master of Architecture

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Nannini, Priscilla Barranqueiros Ramos. "Ilustração : passeio pela poesia visual /". São Paulo : [s.n.], 2007. http://hdl.handle.net/11449/86984.

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Orientador: Luiza Helena da Silva Christov
Resumo: O objetivo da presente pesquisa é explicitar o quanto a ilustração colabora para a formação visual dos pequenos leitores e descobrir o valor estético da linguagem imagem no livro infantil. O tema é relevante tanto para a arte como também para a educação. Alguns questionamentos em minha pesquisa: Qual a relação que as crianças têm com a ilustração? Como determinada imagem pode sensibilizar o olhar infantil? A ilustração pode ampliar os horizontes da percepção? O quanto esta linguagem ajuda o leitor a fruir e conhecer as linguagens visuais? Após o levantamento bibliográfico especializado, elenco como alguns autores visualizam a ilustração e qual a sua importância ao longo do tempo, situando-se historicamente e culturalmente, no Brasil e no mundo. Descrevo como ela aparece nos livros ilustrados, e o diálogo que tem como o texto verbal. A partir do discurso desses autores, procuro embasar hipótese de que a ilustração desempenha um papel importante no aprendizado e na formação de fruidores da linguagem visual. Rui de Oliveira e Donis A. Dondis defendem a idéia de educar e sensibilizar o olhar das crianças, e por isso são usados como referência teórica. Com base no conceito de Vygostky sobre criatividade, justifico a relevância dessa pesquisa e formulo uma possível abordagem teórica para investigar a relação que ocorre na leitura das ilustração pela criança e seu aprendizado e a facilidade para ler/ entender outras imagens da sua realidade. Para entender as ilustrações, é preciso observar suas especificidades. Em aspectos formais destaco como é desenvolvida, suas pricipais características e técnicas usadas. Como fundamento temos Arnheim, Luis Camargo e Faria, que dão amplos conceitos para a análise e compreensão de aspectos formais de imagens e da ilustração, especificamente. Na sequência, busco a visão de pessoas que de alguma maneira estão ligadas às ilustrações do livro de literatura infantil.
Abstract: The focus of the research is to turn clear how importat the ilustration is to collaborate with the formation of the small readers and the image language aesthetic value in the child book. The topic is relevant to the art as well as it is to education. Some questions in my research: What relationship do children have to such illustration? How persuasive an image is to catch the eyes of a child? Is the illustration able to broaden the horizons of their perception? How much does this language can help the reader to enjoy and know the visul language? After a apecialized bibliographical survey, the cast of some authors visualized the illustration as well as its importance through years placing it, historically and culturally in Brazil and allover the world. I describe how it's shown in the ilustrated books, and the dialogue it has with the verbal texts. From the speech of these authors, I intend to establish my hypothesis that the illustration develops an important role in the learning and formation of the possessors of the visual language. Rui de Oliveira and Doins sustain the idea of educating and turning sensible the eyes of the children, and because of this, they are known as theoretical references. On base of Vygostky's conception about creativity, I focus the relevance of this research and formulate a possible theoretical approch to investigate the relation which happens among the reading ofthe illustration by the children and their learning and the facility to read and understand other images of their reality. To understand the illustration, it is necessary to observe specificity. In formal aspects, I highlight their main characteristics and the use of technical role models. We have Arnhhein, Luis Camargo and Faria which give wide specifically conceptions to the analysis and comprehension of formal aspects of the image and illustration.
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Nannini, Priscilla Barranqueiros Ramos [UNESP]. "Ilustração: passeio pela poesia visual". Universidade Estadual Paulista (UNESP), 2007. http://hdl.handle.net/11449/86984.

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Made available in DSpace on 2014-06-11T19:22:30Z (GMT). No. of bitstreams: 0 Previous issue date: 2007Bitstream added on 2014-06-13T20:49:08Z : No. of bitstreams: 1 nannini_pbr_me_ia.pdf: 1239879 bytes, checksum: ff0c0d1972a04a0b1c212184513eceb1 (MD5)
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
O objetivo da presente pesquisa é explicitar o quanto a ilustração colabora para a formação visual dos pequenos leitores e descobrir o valor estético da linguagem imagem no livro infantil. O tema é relevante tanto para a arte como também para a educação. Alguns questionamentos em minha pesquisa: Qual a relação que as crianças têm com a ilustração? Como determinada imagem pode sensibilizar o olhar infantil? A ilustração pode ampliar os horizontes da percepção? O quanto esta linguagem ajuda o leitor a fruir e conhecer as linguagens visuais? Após o levantamento bibliográfico especializado, elenco como alguns autores visualizam a ilustração e qual a sua importância ao longo do tempo, situando-se historicamente e culturalmente, no Brasil e no mundo. Descrevo como ela aparece nos livros ilustrados, e o diálogo que tem como o texto verbal. A partir do discurso desses autores, procuro embasar hipótese de que a ilustração desempenha um papel importante no aprendizado e na formação de fruidores da linguagem visual. Rui de Oliveira e Donis A. Dondis defendem a idéia de educar e sensibilizar o olhar das crianças, e por isso são usados como referência teórica. Com base no conceito de Vygostky sobre criatividade, justifico a relevância dessa pesquisa e formulo uma possível abordagem teórica para investigar a relação que ocorre na leitura das ilustração pela criança e seu aprendizado e a facilidade para ler/ entender outras imagens da sua realidade. Para entender as ilustrações, é preciso observar suas especificidades. Em aspectos formais destaco como é desenvolvida, suas pricipais características e técnicas usadas. Como fundamento temos Arnheim, Luis Camargo e Faria, que dão amplos conceitos para a análise e compreensão de aspectos formais de imagens e da ilustração, especificamente. Na sequência, busco a visão de pessoas que de alguma maneira estão ligadas às ilustrações do livro de literatura infantil.
The focus of the research is to turn clear how importat the ilustration is to collaborate with the formation of the small readers and the image language aesthetic value in the child book. The topic is relevant to the art as well as it is to education. Some questions in my research: What relationship do children have to such illustration? How persuasive an image is to catch the eyes of a child? Is the illustration able to broaden the horizons of their perception? How much does this language can help the reader to enjoy and know the visul language? After a apecialized bibliographical survey, the cast of some authors visualized the illustration as well as its importance through years placing it, historically and culturally in Brazil and allover the world. I describe how it's shown in the ilustrated books, and the dialogue it has with the verbal texts. From the speech of these authors, I intend to establish my hypothesis that the illustration develops an important role in the learning and formation of the possessors of the visual language. Rui de Oliveira and Doins sustain the idea of educating and turning sensible the eyes of the children, and because of this, they are known as theoretical references. On base of Vygostky's conception about creativity, I focus the relevance of this research and formulate a possible theoretical approch to investigate the relation which happens among the reading ofthe illustration by the children and their learning and the facility to read and understand other images of their reality. To understand the illustration, it is necessary to observe specificity. In formal aspects, I highlight their main characteristics and the use of technical role models. We have Arnhhein, Luis Camargo and Faria which give wide specifically conceptions to the analysis and comprehension of formal aspects of the image and illustration.

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Yu, Ka-wah Janet y 余嘉華. "Visual arts warehouses, Yau Tong". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B31986237.

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Yu, Ka-wah Janet. "Visual arts warehouses, Yau Tong". Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25947825.

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Batista, Ana Luiza Dias. "Língua morta". Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/27/27160/tde-20102014-101155/.

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O objeto desta tese são os trabalhos de arte da autora. Eles são agrupados segundo critérios provisórios de identidade, que se constituem e explicitam nas próprias formas dos textos e imagens que os acompanham. Buscam-se elementos comuns, simétricos ou proporcionais nos trabalhos, procedimentos comuns, confluentes ou paralelos, correspondências formais. A abordagem é descritiva. A passagem entre os trabalhos se dá diretamente, sem conexões explicativas, por acareação. Pretende-se construir, na dimensão da linguagem, lugares de coexistência, chãos comuns onde os trabalhos se possam dispor, espaços transitórios que permitam arranjá-los.
The object of this thesis is the author\'s works of art. They are grouped according to contingent criteria of identity, which constitute and explicit themselves in the very forms of texts and adjoining images. The author searches among the works for common, symmetrical or proportional elements, common, confluent or parallel procedures, formal correspondences. The approach is descriptive. The transition between the works is deprived of explanatory connections; they face each other directly, in line-up confrontation. The intention is to build, in the dimension of language, sites of coexistence, common grounds where the works can lay, transitory spaces that allow to arrange them

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Vroombout, Lynn. "Striking a balance between formalism and expression in visual arts practice and visual arts education". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2004. https://ro.ecu.edu.au/theses/859.

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This creative arts project is an exploration of the benefits of an approach to visual arts education that balances the need for both formal (i.e. visual arts language, knowledge of skills, techniques and processes) and expressive content. As an artist, my tendency to focus on formal concerns can override the effective of expressive content of my artworks. I recognize the potential for my artwork to become static when the expressive elements are given insufficient consideration. Whilst acknowledging the importance of formal content an increasing awareness of the value of expression in artwork has led to a philosophical re-evaluation. This in turn has impacted upon my teaching practices as a balance between formalist and expressive approaches is pursued. This creative arts project followed an action research process where I explored ways of incorporating increasingly expressive elements in my artwork. I identified and documented evidence of change. A series of visual diaries that recorded the development of ideas accompanied the creative project, as does an exegesis. Through the research I explored whether it was possible to resolve the inherent tension between formalism and expressionism in both visual arts practice (my art work) and visual arts education (my work as an art teacher). I believe the Western Australian Curriculum Framework has sufficient scope to address the need for both formalism and expression in visual arts education. This Creative Arts Project was predicated on the belief that although The Arts Outcomes made provision for the exploration of both formal and expressive concerns, in practice the focus was on form and the production of outwardly “successful” art works. Through the research project I aimed to strike a balance where the two components of art production lent their strength to each other. This was evidenced by student achievement and increased expressive content within my own artwork.

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Libros sobre el tema "Visual arts"

John, Gough y Association of Graduate Careers Advisory Services., eds. Visual arts. Manchester: CSU Ltd, 1997.

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Paul, Cox y Association of Graduate Careers Advisory Services., eds. Visual arts. [Great Britain]: Careers Services Trust, 1996.

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Nairne, Sandy. Visual arts. London: National Arts and Media Strategy Unit, 1991.

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SEAMEO Project in Archaelogy and Fine Arts. Library and Documentation Centre., ed. Visual arts. [Bangkok?]: SEAMEO Project in Archeology and Fine Arts, Library and Documentation Centre, 1985.

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Curriculum Committee for Arts Education., Ireland. Department of Education and Science. y National Council for Curriculum and Assessment., eds. Visual arts: Arts education : curriculum. Dublin: Stationery Office, 1999.

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Taylor, Jeffrey. Visual Arts Management. New York : Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315543666.

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Sharp, Nicholas. Visual arts contracts. Sunderland: AN Publications, 1992.

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Britain, Arts Council of Great. Visual arts grants. London: Arts Council, 1991.

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Sharp, Nicholas. Visual arts contracts. Sunderland: AN Publications, 1996.

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Council, British, ed. Visual arts news. London: British Council, 1993.

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Capítulos de libros sobre el tema "Visual arts"

Moore, Jerilou J. y Kerry P. Holmes. "Visual Arts". En The A in STEAM, 93–204. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003010760-8.

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Bryant, Margaret. "Visual Arts". En Handbook for History Teachers, 509–14. London: Routledge, 2021. http://dx.doi.org/10.4324/9781032163840-68.

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McIntyre, Phillip, Susan Kerrigan, Janet Fulton, Evelyn King y Claire Williams. "Visual Arts". En Palgrave Studies in Creativity and Culture, 203–28. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-45972-6_8.

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Fagnart, Claire. "Visual". En Arts, Ecologies, Transitions, 192–94. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003455523-49.

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Kehk, Bee Lian. "Visual Arts Education". En Encyclopedia of Educational Philosophy and Theory, 1–6. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-287-532-7_679-1.

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Diepeveen, Leonard. "The Visual Arts". En A Companion to Modernist Poetry, 34–46. Oxford, UK: John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781118604427.ch3.

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Dabbs, Julia. "The Visual Arts". En The Routledge History Of Women In Early Modern Europe, 335–56. New York : Routledge, 2019. | Series: Routledge histories |: Routledge, 2019. http://dx.doi.org/10.4324/9780429355783-15.

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Becker, Annette. "The Visual Arts". En A Companion to World War I, 338–52. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444323634.ch23.

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Fleisher, Paul. "Visual Arts Games". En Brain Food 100+ Games That Make Kids Think, 197–98. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003233350-25.

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Weston, Richard. "The Visual Arts". En A Companion to Modernist Literature and Culture, 244–49. Oxford, UK: Blackwell Publishing Ltd, 2007. http://dx.doi.org/10.1002/9780470996331.ch26.

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Actas de conferencias sobre el tema "Visual arts"

Strezoski, Gjorgji, Lucas Fijen, Jonathan Mitnik, Dániel László, Pieter de Marez Oyens, Yoni Schirris y Marcel Worring. "TindART: A Personal Visual Arts Recommender". En MM '20: The 28th ACM International Conference on Multimedia. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3394171.3414445.

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Stewart, Connie. "Unflattening Research in Visual Arts Education". En 2019 AERA Annual Meeting. Washington DC: AERA, 2019. http://dx.doi.org/10.3102/1441095.

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Mercuri, Rebecca y Ranjit Bhatnagar. "Virtual arts therapies". En ACM SIGGRAPH 97 Visual Proceedings: The art and interdisciplinary programs of SIGGRAPH '97. New York, New York, USA: ACM Press, 1997. http://dx.doi.org/10.1145/259081.259291.

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Shepherd, Phil. "3D Visual Thinking". En Electronic Visualisation and the Arts. BCS Learning & Development, 2018. http://dx.doi.org/10.14236/ewic/eva2018.48.

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Olizko, Yuliia. "INTEGRATING VISUAL ARTS INTO ESP FOR CHEMISTS". En LE TENDENZE E MODELLI DI SVILUPPO DELLA RICERСHE SCIENTIFICI. European Scientific Platform, 2020. http://dx.doi.org/10.36074/13.03.2020.v2.20.

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Portugal, Cristina. "Design and Visual Arts for Digital Literature". En Electronic Visualisation and the Arts (EVA 2017). BCS Learning & Development, 2017. http://dx.doi.org/10.14236/ewic/eva2017.50.

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Li, Franklin Mingzhe, Lotus Zhang, Maryam Bandukda, Abigale Stangl, Kristen Shinohara, Leah Findlater y Patrick Carrington. "Understanding Visual Arts Experiences of Blind People". En CHI '23: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2023. http://dx.doi.org/10.1145/3544548.3580941.

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Mamedova, L. A. k. "Synthesis problems of visual arts in architecture". En Scientific achievements of the third millennium. SPC "LJournal", 2021. http://dx.doi.org/10.18411/scienceconf-03-2021-56.

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Swaminathan, Raji. "Photography and Visual Arts-Based Educational Research". En 2022 AERA Annual Meeting. Washington DC: AERA, 2022. http://dx.doi.org/10.3102/1883454.

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Berge, Jon. "Disability in the arts". En ACM SIGGRAPH 97 Visual Proceedings: The art and interdisciplinary programs of SIGGRAPH '97. New York, New York, USA: ACM Press, 1997. http://dx.doi.org/10.1145/259081.259216.

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Informes sobre el tema "Visual arts"

Petrie, Christopher y Katija Aladin. Spotlight: Visual Arts. HundrED, diciembre de 2020. http://dx.doi.org/10.58261/azgu5536.

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HundrED and Supercell believe that fostering Visual Art skills can be just as important as numeracy and literacy. Furthermore, we also believe that Visual Arts can be integrated into all learning in schools and developed in a diversity of ways. To this end, the purpose of this project is to shine a spotlight, and make globally visible, leading education innovations from around the world doing exceptional work on developing the skill of Visual Arts for all students, teachers, and leaders in schools today.

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Schonfeld, Roger. The Visual Resources Environment at Liberal Arts Colleges. New York: NITLE, agosto de 2015. http://dx.doi.org/10.18665/sr.22338.

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Utchanah, Erwin Bryan. Education Growing Buzz: Neuroscience & Visual Arts – A NEW STORY. ResearchHub Technologies, Inc., abril de 2024. http://dx.doi.org/10.55277/researchhub.fwc5dsbh.

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Rito, Carolina y Paul Goodwin. The Changing Same? British Black Artists and Visual Arts Organisations in the Midlands. Coventry University, mayo de 2023. http://dx.doi.org/10.18552/camc/2023/0001.

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The Role of Visual Arts Organisations in the British Black Arts Movement in the Midlands’ is a research network funded by the Arts and Humanities Research Council (AHRC). Co-led by Carolina Rito (Coventry University) and Paul Goodwin (University of the Arts London), this project explored the institutional and curatorial strategies of the movement in the 1980s, and the institutional support in promoting and showing Black curators and artists then and today. The publication includes new insights about the process, and interviews with key researchers and practitioners in the field. It presents a series of recommendations and considerations for funders, cultural organisations and the HE sector, and feedback from the cultural partners.

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Burchill, Antoinette, Mark Banks, Christina Williams, Elizabeth Hawley-Lingham y Stefano De Sabbata. It Takes a Region to Raise an Artist: Understanding the East Midlands’ Visual Arts Economy. University of Leicester, noviembre de 2019. http://dx.doi.org/10.29311/2019.06.

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De Tolentino, Marianne y Sara Hermann. Inside and Out: Recent Trends in the Arts of the Dominican Republic. Inter-American Development Bank, noviembre de 2008. http://dx.doi.org/10.18235/0006413.

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For many years the artistic movement in the Dominican Republic was a -best-kept secret. Their growing international contributions to contemporary visual arts have been changing that picture, but may also be characterized by even greater drive, selectivity, and regularity. We could say that of all the islands of the Caribbean, the Dominican Republic is, along with Cuba, Puerto Rico, and Haiti, the country most prolific in regard to modern and contemporary artists.

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Ahmed AlGarf, Yasmine. From Self-Awareness to Purposeful Employment: Guiding Egyptian youth using arts-based learning. Oxfam IBIS, agosto de 2021. http://dx.doi.org/10.21201/2021.7932.

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Alwan wa Awtar (A&A), a partner of the Youth Participation and Employment (YPE) programme, implements a youth programme supporting young people to shape their prospects through professional and soft skill development, safe learning space and non-formal education. A&A has learned important lessons throughout its journey. A safe learning environment, flexible learning techniques, visual and performing arts in education and participatory management are key approaches for successful youth programmes. During the COVID-19 period, many of the professional development programmes have been delivered online, which was a good example of adaptation to changing circumstances that ensured the sustainability and continued effectiveness of the programme.

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Cunningham, Stuart, Marion McCutcheon, Greg Hearn, Mark Ryan y Christy Collis. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Sunshine Coast. Queensland University of Technology, diciembre de 2020. http://dx.doi.org/10.5204/rep.eprints.136822.

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The Sunshine Coast (unless otherwise specified, Sunshine Coast refers to the region which includes both Sunshine Coast and Noosa council areas) is a classic regional hotspot. In many respects, the Sunshine Coast has assets that make it the “Goldilocks” of Queensland hotspots: “the agility of the region and our collaborative nature is facilitated by the fact that we're not too big, not too small - 330,000 people” (Paddenburg, 2019); “We are in that perfect little bubble of just right of about everything” (Erbacher 2019). The Sunshine Coast has one of the fastest-growing economies in Australia. Its population is booming and its local governments are working together to establish world-class communications, transport and health infrastructure, while maintaining the integrity of the region’s much-lauded environment and lifestyle. As a result, the Sunshine Coast Council is regarded as a pioneer on smart city initiatives, while Noosa Shire Council has built a reputation for prioritising sustainable development. The region’s creative economy is growing at a faster rate that of the rest of the economy—in terms of job growth, earnings, incomes and business registrations. These gains, however, are not spread uniformly. Creative Services (that is, the advertising and marketing, architecture and design, and software and digital content sectors) are flourishing, while Cultural Production (music and performing arts, publishing and visual arts) is variable, with visual and performing arts growing while film, television and radio and publishing have low or no growth. The spirit of entrepreneurialism amongst many creatives in the Sunshine Coast was similar to what we witnessed in other hotspots: a spirit of not necessarily relying on institutions, seeking out alternative income sources, and leveraging networks. How public agencies can better harness that energy and entrepreneurialism could be a focus for ongoing strategy. There does seem to be a lower level of arts and culture funding going into the Sunshine Coast from governments than its population base and cultural and creative energy might suggest. Federal and state arts funding programs are under-delivering to the Sunshine Coast.

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Kerrigan, Susan, Phillip McIntyre y Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Bendigo. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206968.

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Bendigo, where the traditional owners are the Dja Dja Wurrung people, has capitalised on its European historical roots. Its striking architecture owes much to its Gold Rush past which has also given it a diverse cultural heritage. The creative industries, while not well recognised as such, contribute well to the local economy. The many festivals, museums and library exhibitions attract visitors from the metropolitan centre of Victoria especially. The Bendigo Creative Industries Hub was a local council initiative while the Ulumbarra Theatre is located within the City’s 1860’s Sandhurst Gaol. Many festivals keep the city culturally active and are supported by organisations such as Bendigo Bank. The Bendigo Writers Festival, the Bendigo Queer Film Festival, The Bendigo Invention & Innovation Festival, Groovin the Moo and the Bendigo Blues and Roots Music Festival are well established within the community. A regional accelerator and Tech School at La Trobe University are touted as models for other regional Victorian cities. The city has a range of high quality design agencies, while the software and digital content sector is growing with embeddeds working in agriculture and information management systems. Employment in Film, TV and Radio and Visual Arts has remained steady in Bendigo for a decade while the Music and Performing Arts sector grew quite well over the same period.

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Kerrigan, Susan, Phillip McIntyre y Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Geelong and Surf Coast. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206969.

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Geelong and the Surf Coast are treated here as one entity although there are marked differences between the two communities. Sitting on the home of the Wathaurong Aboriginal group, this G21 region is geographically diverse. Geelong serviced a wool industry on its western plains, while manufacturing and its seaport past has left it as a post-industrial city. The Surf Coast has benefitted from the sea change phenomenon. Both communities have fast growing populations and have benefitted from their proximity to Melbourne. They are deeply integrated with this major urban centre. The early establishment of digital infrastructure proved an advantage to certain sectors. All creative industries are represented well in Geelong while many creatives in Torquay are embedded in the high profile and economically dominant surfing industry. The Geelong community is serviced well by its own creative industries with well-established advertising firms, architects, bookshops, gaming arcades, movie houses, music venues, newspaper headquarters, brand new and iconic performing and visual arts centres, libraries and museums, television and radio all accessible in its refurbished downtown area. Co-working spaces, collective practices and entrepreneurial activity are evident throughout the region.

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