Bibliographies thématiques / Galleria arte

Littérature scientifique sur le sujet « Galleria arte »

Auteur : Grafiati
Publié le 10 mars 2023

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Articles de revues sur le sujet "Galleria arte"

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Palacios Celi, Miguel. « El ginecólogo, un pastor de cigüeñas ». Revista Peruana de Ginecología y Obstetricia 63, no 3 (13 octobre 2017) : 473–74. http://dx.doi.org/10.31403/rpgo.v63i2017.

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Señor Editor. En 1504, cuando apenas frisaba los 30 años de edad, Miguel Ángel Michelangelo Buonarotti presentaba en sociedad la obra de arte cumbre de todos los tiempos y hoy patrimonio de la humanidad, El David, esculpida en mármol, de 4,1 metros de altura, bellísima por todos los lados, actualmente expuesta en la Galleria dell’ Accademia de Florencia. El artista recibía elogios de reyes, príncipes y entendidos, ¡solo le falta hablar! le decían. Pero, con mucha humildad respondió diciendo que la mejor de sus obras no se compara en nada a una mujer dando a luz, que es una verdadera obra de arte viviente, única y extraordinaria en todos los tiempos. Y así este polifacético artista mostró su respeto y admiración por ese momento cumbre de la vida, lleno de misterios y esoterismo, lleno de miedos y supersticiones, lleno de leyendas y metáforas.
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Magalhães, Ana G. « Achille Funi nella collezione del MAC-USP ». L'uomo nero. Materiali per una storia delle arti della modernità 19, no 19-20 (13 décembre 2022) : 141–50. http://dx.doi.org/10.54103/2974-6620/uon.n19-20_2022_pp141-150.

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Negli ultimi anni, molto è stato detto, nella storiografia dell’arte brasiliana, sulla creazione delle istituzioni artistiche dedicate all’arte moderna nel paese, a partire dai contatti, negli anni Quaranta, del critico paulistano Sérgio Milliet e, poi, dell’industriale Francisco Matarazzo Sobrinho (di discendenza italiana) con gli Stati Uniti, in particolare col Museum of Modern Art di New York. Da queste trattative, svolte con maggior intensità nel 1946, risultò l’acquisto, da parte di Francisco Matarazzo Sobrinho e di sua moglie, Yolanda Penteado, di un primo gruppo di opere moderniste italiane e francesi, che giunsero in Brasile nel 1947. Quei due anni segnarono l’inizio del progetto di costituzione del primo Museo d’Arte Moderna di San Paolo (MAM), la cui collezione fu trasferita all’Università di San Paolo nel 1963, con la creazione del Museo di Arte Contemporanea (MAC-USP) per accoglierla.Il saggio si concentra su un dipinto di Achille Funi incluso nella collezione, L’indovina (1924), comprato per tramite della Galleria Il Milione di Milano nel 1946.
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Kober, O. I. « Меценатство и коллекционирование в провинции : на примере галереи искусств М.Ф. Коннова в Оренбурге ». Iskusstvo Evrazii [The Art of Eurasia], no 2(21) (30 juin 2021) : 76–91. http://dx.doi.org/10.46748/arteuras.2021.02.007.

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Collecting works of art in the modern Russian provinces is still a poorly studied topic of art history. The relevance of the study is determined by considering the main activities of private art galleries in Orenburg, which is being done for the first time. The author points out the factors that led to the collection of works by Orenburg artists, who was influenced by the graduates of the Moscow State Academic Art Institute named after V.I. Surikov since the 1960s. Changes in the methodological work of art galleries with viewers and buyers at the present stage are noted. The object of the analysis is the art gallery “On Pushkinskaya” as an example of exhibition, information and educational activities. The study emphasizes the role of the personality of the gallery owner M. F. Konnov, a collector, philanthropist and artist, thanks to whom the art gallery has become a cultural center of the city. Коллекционирование произведений искусства в современной российской провинции остается малоизученной темой искусствоведения. Актуальность исследования обусловлена рассмотрением основных направлений деятельности частных художественных галерей Оренбурга, что делается впервые. Указываются факторы, предопределившие собирание картин коллектива оренбургских художников, сформировавшегося под влиянием выпускников Московского художественного института им. В.И. Сурикова, приехавших в степной город в 1960-е годы. Отмечаются изменения в методической работе арт-галерей со зрителями и покупателями на современном этапе. Объектом анализа является галерея искусств «На Пушкинской» как образец выставочной, информационной, образовательной и просветительской деятельности по приобщению зрителей к современному искусству. В исследовании подчеркивается роль личности владельца галереи М.Ф. Коннова, коллекционера, мецената и художника, благодаря которому галерея искусств превратилась в культурный центр города.
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Capssa, Andrea. « GALERIAS ON-OFF : MERCADO DA ARTE E (RE)CONFIGURAÇÕES / ON-OFF galleries : art market and (re)configurations ». arte e ensaios 26, no 40 (2 décembre 2020) : 185–99. http://dx.doi.org/10.37235/ae.n40.13.

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Este artigo no campo da Arte Contemporânea, propõe discutir as estratégias de atuação das Galerias ON-OFF[1], que atuam paralelamente em ambientes virtuais e físicos. A capacidade de articulação das galerias ao disseminar conteúdo nas redes, divulgar artistas e obras, ao realizar ações no campo da curadoria e expandir seus contatos em feiras de arte, promover eventos e firmar parcerias, estabelece, sobretudo, as suas relações com o mercado da arte. Busca-se compreender a atuação das galerias na contemporaneidade, através da curadoria, o público-alvo e suas estratégias, sobretudo as relações entre as galerias ON-OFF e o mercado da arte, as dinâmicas do sistema e suas (re)configurações.Palavras-chave: Arte Contemporânea; Galerias ON-OFF; Curadoria; Mercado da arte.AbstractThis article in the field of Contemporary Art proposes to discuss the strategies of ON-OFF galleries acting in parallel in virtual and physical environments. The ability to articulate the galleries by disseminating contended on the networks, publicize artists and works, carry out actions in the field of curatorship and expand their relations with the art market. It seeks to understand the performance of galleries in the contemporary world, through curatorship, the target audience and their strategie, especially the relations between the ON-OFF galleries and the art market, the dynamics of the system and its (re)configuartions.Keywords: Contemporary Art; ON-OFF Galleries; Curatorship; Art Market.[1] Conceito proposto e defendido pela autora para caracterizar as galerias de arte que na atualidade atuam online e offline concomitantemente, de acordo com suas estratégias de atuação.
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Halley, Peter, Caroline Alciones De Oliveira Leite et Luiz Sérgio de Oliveira. « After Art [Depois da Arte] ». POIÉSIS 18, no 30 (31 décembre 2017) : 109. http://dx.doi.org/10.22409/poiesis.1830.109-116.

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O ensaio “After Art” foi publicado originalmente no número 27 da New Observations (Nova York, 1985) e posteriormente no livro Peter Halley, Collected Essays 1981-1987, Zurique, Bruno Bischofberger Gallery, 1988, de onde esta tradução foi realizada.
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Colmenares, Elkin. « La ruina, una mirada desde el arte ». Revista Habitus : Semilleros de investigación, no 3 (7 septembre 2012) : 79–84. http://dx.doi.org/10.19053/22158391.1787.

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El siguiente ensayo parte de las reflexiones que se dan cuando un objeto entra en la galería después de haber pasado por el afuera (la calle). Por otra parte, también incluye el análisis de las variables que tiene la mirada del espectador con relación a espacios invisibles (la ruina) y al ejercicio artístico (la tiza), permitiendo evidenciar los cambiosde significado que las cosas experimentan con el tiempo, y de la transfiguración significante que el espectador les da a los objetos al llegar a una galería o museo. Palabras claveRuina, galería, lo visible, lo invisible. AbstractThe following essay departs from the reflections that occur when an object enters the gallery after having passed through the outside (the street). On the other hand, it also includes the analysis of variables that has the viewer in relation to invisible spaces (the ruin) and the artistic exercise (the chalk), allowing demonstrate changes of signification that the things experience over time, and the significant transfiguration that the viewer gives to objects that come to a gallery or museum.KeywordsRuin, gallery, the visible, the invisible.
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Biagi, Juliet. « The Art Gallery / La Galería de Arte ». Education and Urban Society 33, no 4 (août 2001) : 409–26. http://dx.doi.org/10.1177/0013124501334005.

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Courtright, Nicola, Lucio Gambi et Antonio Pinelli. « La Galleria delle Carte geografiche in Vaticano/The Gallery of Maps in the Vatican ». Art Bulletin 79, no 1 (mars 1997) : 156. http://dx.doi.org/10.2307/3046235.

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Chong, Derrick. « A ‘Family of Galleries’ : Repositioning the Tate Gallery ». Museum Management and Curatorship 18, no 2 (janvier 1999) : 145–57. http://dx.doi.org/10.1080/09647779900301802.

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Miniati, Mara. « Birth and life of Scientific Collections in Florence ». Museologia & ; Interdisciplinaridade 5, no 9 (30 avril 2017) : 14–41. http://dx.doi.org/10.26512/museologia.v5i9.17201.

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O artigo centra-se na história das coleções científicas em Florença. Na era dos Medici, Florença foi um importante centro de pesquisa científica e de coleções. Este aspecto da cultura florentina é geralmente menos conhecido, mas a ciência e coleções científicas foram uma parte consistente da história da cidade. O recolhimento de instrumentos científicos era um componente importante das estratégias políticas dos grão-duques florentinos, convencidos de que o conhecimento científico e controle tecnológico sobre a natureza conferiria solidez e prestígio ao seu poder político. De Cosimo I a Cosimo III, os grão-duques Médici concederam o seu patrocínio e comissões sobre gerações de engenheiros e cientistas, formando uma coleção de instrumentos matemáticos e astronômicos, os modelos científicos e produtos naturais, exibidos ao lado das mais famosas coleções de arte na Galleria Uffizi, no Palazzo Pitti, e em torno da cidade de Florença e outros lugares da Toscana. Esta coleção soberba, ainda existente, é uma expressão não só do "gosto" dos tempos, mas também dos interesses multifacetados do grão-duques. Após o fim da era Medici, no século 18, a dinastia Lorena Florence separou as coleções artísticas das coleções científicas e estas últimas foram colocados no novo Museu Imperial e Real de Física e História Natural, pelo Grão-Duque Pedro Leopoldo de Lorena e aberta ao público em 1775. A fundação deste museu pela dinastia Lorena representou um novo desenvolvimento e uma nova fase para esse material de interesse científico em Florença. Este artigo descreve as transformações ocorridas entre os séculos 18 e 19 na vida cultural da capital da Toscana: as artes e ciências foram promovidos, e os florentinos cultivados estavam interessadas no desenvolvimento recente da física, na Itália e no exterior. Nesse período, numerosas coleções científicas privadas e públicas de Florença existentes, que eram menos famosas, mas não menos importantes do que as coleções Médici e Lorena se destacaram. Finalmente, o artigo descreve como as coleções florentinas se desenvolveram. A fundação do Instituto e Museu de História da Ciência deu nova atenção aos instrumentos científicos antigos. Sua intensa atividade de pesquisa teve um impacto sobre a organização do Museu. Novos estudos levaram a novas atribuições aos instrumentos científicos, as investigações de arquivamento contribuiram para um melhor conhecimento da coleção, e os contactos crescentes com instituições italianas e internacionais feitas do Museu tornaram-no cada vez mais ativo em uma ampla rede de empreendimentos cooperativos sobre temas específicos. A última alteração de sua denominação (Museo Galileo) e a reorganização moderna são a expressão de uma "continuidade" do patrimônio histórico-científico, preservado pelo Museu, e do "Inovação" para permiti-lo "falar" e torna-lo inteligível a um público contemporâneo.
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Thèses sur le sujet "Galleria arte"

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Lora, Alice <1995&gt. « Il deposito del museo di arte contemporanea come nuova ‘sfida’ per la didattica museale. Il caso della Galleria d’Arte Moderna e Contemporanea Achille Forti di Verona ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/17389.

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È ormai opinione condivisa che i depositi museali non siano dei meri contenitori, polverosi e chiusi, di oggetti preziosi, ma che essi rappresentino invece il ‘cuore’ del museo. Sono una viva miniera di ricchezze a cui però, purtroppo, nella gran parte dei casi il pubblico ancor’oggi non ha accesso. La presente ricerca si propone, dunque, di analizzare come la didattica museale possa, nel prossimo futuro, essere utilizzata per rendere maggiormente accessibili e fruibili, attraverso una serie di attività guidate, i caveau o gli archivi di musei e gallerie. Dopo una prima analisi dell’attuale situazione della didattica nei musei d’arte contemporanea in Italia, l’elaborato si concentra sul dibattito internazionale relativo all’importanza e alla valorizzazione del deposito quale elemento fondamentale della realtà museale. In particolare, viene preso in esame il caso della Galleria d’Arte Moderna e Contemporanea di Verona Achille Forti, per la quale vengono sviluppati, in via sperimentale, alcuni brevi percorsi educativi rivolti ad un pubblico di adolescenti e adulti, atti a valorizzare i depositi del museo veronese.
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Ligorio, Giulia <1992&gt. « Il Mercato dell'Arte e il Ruolo delle Gallerie. La Galleria Alberta Pane ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/20690.

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Il presente elaborato analizza il complesso sistema dell’arte contemporanea, focalizzandosi sul ruolo svolto dalle gallerie private. Analizzando i singoli attori che animano il mercato dell’arte (artisti, collezionisti, gallerie, case d’asta, musei, ecc.) e la sua articolata struttura, è possibile comprendere la centralità delle gallerie d’arte contemporanea, al fine di un corretto funzionamento del sistema. Considerando la crisi provocata dalla pandemia di Coronavirus, l’elaborato riporta problematiche e dati in riferimento alla situazione delle gallerie. Dall’analisi del mercato delle gallerie si passa al caso della galleria Alberta Pane, con le sue due sedi a Venezia e a Parigi, con l’obiettivo di mostrare il ruolo che essa svolge all’interno del sistema.
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Gollini, Serena <1994&gt. « Professione gallerista : la Galleria Alberta Pane, un caso di studio ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/14368.

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Questa tesi di laurea si pone come obiettivo lo studio e l’analisi della professione di gallerista, considerando il caso di studio della Galleria Alberta Pane, attiva nelle città di Parigi e Venezia. Si analizza il ruolo del gallerista all’interno del sistema dell’arte contemporanea, specificando in cosa consista questo mestiere, e si ripercorre lo sviluppo di questa figura portando ad esempio le personalità più rilevanti di questo ambito. Si propone un approfondimento sul sistema galleristico in Francia e in Italia e dall’analisi generale ci si concentra al particolare, presentando il caso di studio della Galleria Alberta Pane, che viene analizzata sotto diversi aspetti in modo da mostrare un’analisi più ampia e approfondita possibile. Dopo aver studiato la galleria dal lato economico-gestionale, si considera l’ambito espositivo, attraverso un focus su quattro mostre organizzate, due personali nella sede parigina e due collettive in quella veneziana. Viene esposto, poi, uno studio sul sistema fieristico internazionale per le gallerie d’arte contemporanea, proponendo l’esempio di una fiera alla quale la Galleria Alberta Pane ha partecipato. Infine, vengono esaminati le collaborazioni tra istituzioni simili che impegnano la galleria oggetto di questo elaborato. Lo scopo di questo lavoro, perciò, è analizzare la professione di gallerista mediante la Galleria Alberta Pane e la sua posizione nel sistema artistico delle due città in cui opera.
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Jarzebska, Aneta. « Transgressing the borders of gallery space : subversive practices of alternative art galleries in East Germany and Poland of the 1970s ». Thesis, University of Manchester, 2018. https://www.research.manchester.ac.uk/portal/en/theses/transgressing-the-borders-of-gallery-space-subversive-practices-of-alternative-art-galleries-in-east-germany-and-poland-of-the-1970s(80cbed0c-10b9-4211-9ad2-3a0e19f94a30).html.

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This thesis constitutes the first comparative study of the phenomenon of alternative art galleries functioning during the 1970s in two neighbouring state socialist regimes, namely, the German Democratic Republic and the People's Republic of Poland. Firmly contextualised in the cultural-political climate of Honecker's and Gierek's quasi-liberalisation, it examines the socio-cultural function of non-conformist exhibition spaces and focuses, specifically, on two case studies: Galerie Arkade in East Berlin and Galeria/Repassage in Warsaw. By looking at a wide variety of practices produced in those spaces, this thesis investigates the commonalities and differences in how the galleries operated and how they related to the divergent post-Stalinist conditions. For instance, due to more repressive cultural-politics in the GDR, it proved more difficult to accommodate experimental practices in Arkade, since even exhibiting abstract art was problematic for the East German officials. Conversely, in Poland Gierek's liberalisation resulted in the state's limited acceptance of radical artistic practices such as performance and conceptual art but only in the marginal spaces of artist-run galleries. Despite their alternative status, the galleries were, to a certain degree, dependent administratively and financially on these socialist institutions and were at the same time exposed to surveillance by the state security services. These aspects of galleries' activities are often neglected and so to remedy this lack this thesis offers new perspectives on and insights into various aspects of the functioning of alternative culture in this region. The originality of this research lies also in its references to new archival material which has not been published, nor interpreted before. The interpretation of these rich primary sources makes use of a new theoretical framework that combines Michel Foucault's theory of heterotopia in a macro-level analysis and Henri Lefebvre's ideas on the social production of space in a micro-level analysis. In particular, the galleries' histories are seen in this thesis as intertwined with the advancing process of disintegration of state socialism in the Eastern Bloc as this was perceptible to varying degree in different socialist states. Accordingly, it argues that the galleries were symptomatic of and, simultaneously, contributed through various practices to the 'post-socialist condition'.
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Silveira, Andrea Aparecida Capssa de Lima da. « CONSIDERAÇÕES SOBRE AS GALERIAS VIRTUAIS E SUAS RELAÇÕES COM O MERCADO DE ARTE ». Universidade Federal de Santa Maria, 2016. http://repositorio.ufsm.br/handle/1/5244.

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This research in the field of History, Theory and Criticism of Art with an emphasis on Art and Technology, aims a theoretical and practical study of virtual galleries from contemporary art to cyberspace. It aims to understand the functions of the galleries and the role of the gallerist as entrepreneur / strategist for the art market. In this study are selected six art galleries - all Brazilian and distinct characteristics - which can contribute to the recognition methods to choose exclusively online environment or act between physical and virtual environments. According to the data found, all virtual galleries seek legitimacy through the interested public, collectors, and other art dealers are made up of expository and informative environments, but only a few follow with e-commerce.
Esta pesquisa no campo da História, Teoria e Crítica da Arte, com ênfase em Arte e Tecnologia, tem como objetivo um estudo teórico das galerias virtuais, a partir de questões pertinentes à arte contemporânea e ao ciberespaço. Visa compreender as funções das galerias e o papel do galerista enquanto empreendedor/estrategista para o mercado da arte. Neste estudo são selecionadas seis galerias de arte todas brasileiras e com características distintas que podem contribuir para o reconhecimento das estratégias dos galeristas que optam por trabalhar em ambiente exclusivamente online ou atuar simultaneamente em ambientes físicos e virtuais. De acordo com os dados encontrados, todas as galerias virtuais buscam legitimação através do público interessado, dos colecionadores e dos demais galeristas, estão constituídas de ambientes expositivo e informativo, mas apenas algumas seguem com e-commerce.
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Arnett, Joanne. « Rogue gallery ». Thesis, Kent State University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1555301.

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I seek to capture the ephemeral in a series of large-scale weavings that examine relationships between public and private, real and artificial, the mundane and the extraordinary.

I use mug shots as a device because they represent a perfect juncture between conflict and resolution. I assume the role of the accused in all the compositions. Rather than present the images as photographs I transform them into weavings. The zeros and ones that make up a digital image file become a code which translates as the over and under of warp and weft and embeds the image in the finished cloth. Matte yarn is used for the warp, shiny wire is used for the weft, transforming darks and lights in to rich tactile surfaces. The resulting image appears and disappears depending on the viewer's perspective.

The viewer is required to physically interact with the artwork in order to see the portrait, creating a dynamic between him and the person pictured. The image slips away as the viewer steps closer, shifting the viewer&apos;s focus to other aspects of the work, and as he circles the art work to recapture the portrait there is time for layers of information to be read. The luxurious weavings are enigmatic and inspire a sense of wonder. Content, materials, and form combine to create a moment where the viewer is taken out of the expected, suspending a fleeting exchange in time and resulting in an experience rather than just a viewing.

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Domingue, Natalie. « New Orleans Auction Galleries : Sustaining Vitality in Shifting Auction Markets ». ScholarWorks@UNO, 2016. http://scholarworks.uno.edu/aa_rpts/203.

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This report examines an internship experience as the Auction and Fine Art Department Assistant at New Orleans Auction Galleries with discussion of the Company’s history, operating structure, and role in the auction market. In addition, an evaluation of the Company’s strengths, weakness, opportunities and threats and a discussion of the auction industry’s best practices used by international auction houses as they related to New Orleans Auction Galleries is also found. The report concludes with recommendations made by the intern, for the Company’s future sustainability in the auction market.
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Grappin, Benjamin. « An internship with Arthur Roger Gallery, LLC ». ScholarWorks@UNO, 2005. http://scholarworks.uno.edu/aa_rpts/6.

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The following report is the analysis of a three-month internship within this organization, and will discuss topics as they relate to the cuniculum of the Arts Administration degree. The for-profit nature of this internship and its completion within a small-scale structure presented me with several not-so-clearly delineated tasks. In order to properly introduce the topics associated with the responsibilities of the assignment at Arthur Roger Gallery, the reader must first become familiar with the nature of the business, and its management structure. Chapter II is exclusively devoted to the purpose of the internship. By considering the role of the intern, who acted in the role of an assistant to the staff, this section will outline the importance of compiling an inventory, and the necessity of maintaining the gallery's website in the most accurate manner. The third chapter of the present report is an attempt to identify the reasons that separate the Arthur Roger Gallery from its competitors. This section will address several elements discussed through our cuniculum, particularly during the Visual Art and Marketing classes. Broadly speaking, it will show that Arthur Roger has fully understood the "who, what, where, why, when and how" of selling fine art in his market area. The final section of the discussion will involve several points dealing principally with management and technical concerns, for the most part related to the growing activity of the business and its recent evolutions.
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Prete, Elisa <1982&gt. « Incontenibili : nuove avanguardie e gallerie d'arte nel panorama italiano e francese degli anni Sessanta ». Doctoral thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/3010.

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La presente ricerca propone un’analisi del contesto artistico italiano e francese degli anni Sessanta in cui si sono sviluppate le correnti neoavanguardia (dal Nouveau Réalisme alla Pop Art, dalle ricerche cinetiche e programmate agli sviluppi concettuali, dall’Arte Povera alle esperienze multimediali e alla pratica dell’happening), con particolare riferimento all’attività espositiva delle gallerie private che in questo decennio si dimostrano i luoghi più adatti per accogliere le sperimentazioni e dare voce all’aspetto performativo delle nuove operazioni artistiche. L'analisi è strutturata in tre parti fondamentali: la prima è dedicata all’attività espositiva degli spazi privati nei maggiori centri italiani (Venezia, Roma, Milano, Torino, Genova, Bologna) e alle iniziative legate alla produzione delle neoavanguardie; la seconda riguarda la vicenda del Nouveau Réalisme e i rapporti che si instaurano tra la scena artistica francese e quella italiana, ricostruiti attraverso il profilo delle gallerie parigine maggiormente impegnate nel sostegno e nella promozione dei membri del gruppo; la terza riflette infine sulla trasformazione della tradizionale idea di “oggetto” artistico, che nel corso del decennio modifica in modo significativo tanto le modalità di percezione da parte del pubblico quanto il rapporto dell'opera con lo spazio, portando ad una crisi della stessa sede espositiva.
The following research offers an analysis of the artistic context in Italy and France during the sixties, when important neo-avant-garde trends developed (from Nouveau Réalisme to Pop Art, from Kinetic to Conceptual Art, from Poor Art to multimedia experiences and Happening). In this decade, the private galleries turn out to be the most appropriate and suitable places to host the new artistic experimentations and performances. The research is divided into three parts: the first one is about the private exhibition spaces of some of the most important Italian cities (Venice, Rome, Milan, Turin, Genoa, Bologna) and all the initiatives related to the production of the neo-avant-garde; the second part concerns the history of the Nouveau Réalisme and the relationships developed between France and Italy, recreated throughout the profile of the Parisian galleries more committed for supporting and promoting the members of the group; the third part is focused on the transformation of the traditional idea of artistic "object" in the course of the decade, that significantly changes both the way the public perceives the artwork and the relation between the artwork and the space, leading to a crisis of the gallery and the exposition space.
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Lieberman, Christina Michele. « A handbook for developing an exhibition guide for a student union art gallery ». Thesis, The University of Arizona, 2002. http://hdl.handle.net/10150/278798.

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This thesis is a narrative of the development and design of an exhibition guide entitled Exhibition Guide for the Student Artist. The guide was created for use with student artists who will exhibit at the Union Galleries. The contents of the Exhibition Guide were based on an analysis of data collected from questionnaires administered to university students and curators of community galleries. The data were compared for common themes and threads. A series of questions about exhibiting emerged which formed the basis for the guide. The purpose of the guide is to help art students, new to the exhibition process, and to encourage their professional development. The Exhibition Guide for the Student Artist will be publicized by the Arizona Student Unions in January 2003.
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Livres sur le sujet "Galleria arte"

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Lam, Wifredo. Wifred Lam : [Galleria arte Borgogna, Milano]. Milano : Prearo, 1992.

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Tulino, Giulia. La galleria l'Obelisco : Surrealismo e arte fantastica (1943-1954). Roma : De Luca editori d'arte, 2020.

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Bernasconi, Ugo. Ugo Bernasconi : Galleria Gian Ferrari arte moderna. Milano : Gian Ferrari arte moderna, 1991.

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Arcangeli, Francesco. Arte e vita : Pagine di galleria : 1941-1973. Bologna : Accademia Clementina, 1994.

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Bellinelli, Eros. Arte di frontiera : Vent'anni della Galleria Tonino, 1967-1987. Astano [Switzerland] : Edizioni del Convento vecchio, 1989.

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Pauletto, Giancarlo. Sagittaria : Venti anni di arte contemporanea. Pordenone : Concordia, 1986.

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Giacomo, Lodetti, dir. Editoria e arte a Milano alla libreria Bocca in Galleria. Milano : Bocca, 1999.

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Arte del XIX secolo : Dipinti e disegni antichi = 19th century art : old master pictures and drawings. Roma : Christie's, 2002.

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Pacini, Delio. Palazzo Forti, storia ed arte. [Mogliano, Italy] : Comune di Mogliano, 2004.

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Turin (Italy). Galleria civica d'arte moderna e contemporanea, dir. Viaggio controcorrente : Arte italiana 1920-1945. Cinisello Balsamo, Milano : Silvana editoriale, 2021.

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Chapitres de livres sur le sujet "Galleria arte"

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Rachleff, Melissa. « Managing Art Galleries ». Dans Managing the Arts and Culture, 179–206. London : Routledge, 2022. http://dx.doi.org/10.4324/9781003108641-9.

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Margenstern, Maurice. « Hyperbolic Gallery ». Dans Designing Beauty : The Art of Cellular Automata, 65–71. Cham : Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-27270-2_8.

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Uboldi, Anna. « Hierarchies and Divisions in the Subfield of Gallery Owners : A Research on Art Galleries in Milan ». Dans The Sociology of Arts and Markets, 239–62. Cham : Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-39013-6_10.

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Franks, Anton. « Expanding the gallery ». Dans Debates in Art and Design Education, 196–210. Second edition. | Abingdon, Oxon ; New York, NY : Routledge,2021. : Routledge, 2020. http://dx.doi.org/10.4324/9780429201714-12.

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Hunt, Bruce. « A Gallery of Algebraic Surfaces ». Dans Mathematics and Art, 237–66. Berlin, Heidelberg : Springer Berlin Heidelberg, 2002. http://dx.doi.org/10.1007/978-3-662-04909-9_26.

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Hubard, Olga. « Introduction : What Is Gallery Teaching ? » Dans Art Museum Education, 1–6. London : Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1007/978-1-137-41288-1_1.

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Alekseenko, S., et D. Markovich. « Gallery of physical phenomena ». Dans Science and Art Symposium 2000, 127–38. Dordrecht : Springer Netherlands, 2000. http://dx.doi.org/10.1007/978-94-011-4177-2_15.

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Werner, Thomas. « Gallery and Museum Teams ». Dans The Business of Fine Art Photography, 81–103. London : Routledge, 2022. http://dx.doi.org/10.4324/9781003086925-3.

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Illeris, Helene. « Adult Education in Art Galleries ». Dans Adult Education, Museums and Art Galleries, 229–41. Rotterdam : SensePublishers, 2016. http://dx.doi.org/10.1007/978-94-6300-687-3_19.

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Grenier, Robin S., et Sigurjón Baldur Hafsteinsson. « Shut Up and Be Quiet ! » Dans Adult Education, Museums and Art Galleries, 3–14. Rotterdam : SensePublishers, 2016. http://dx.doi.org/10.1007/978-94-6300-687-3_1.

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Actes de conférences sur le sujet "Galleria arte"

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Platonova, Maria A. « Art gallery in the scientific library providing cultural and recreation activities ». Dans Twenty Fifth International Conference and Exhibition «LIBCOM-2021». Russian National Public Library for Science and Technology, 2022. http://dx.doi.org/10.33186/978-5-85638-247-0-2022-47-49.

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The cultural and recreation activities in the scientific libraries enable to build new functional spaces and widen their possibilities. By organizing art exhibitions (picture galleries), the libraries offer users to enjoy beauty and introduce them to cultural values. The author provides examples of art spaces in regional science libraries and describes the art gallery at RNPLS&T.
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Nicolas, Arsenio. « Musical Instruments on the 16th century bas reliefs in the North Gallery-East Wing of Angkor Wat : Dating and Significance | ឧបករណ៍ តន្រតីខ្ ្មែរខែលសថិ្តលលើចម្លា កល់ លៀ្រន្រសតវត្ស ទតី១៦ កនុង្ ខ្្កខែវខាងល􀈹ើងឈាងខាងលកើតន្រប្រាសាទអង្គរវត្ ក ថិលចេច្រទថិងស ». Dans The SEAMEO SPAFA International Conference on Southeast Asian Archaeology and Fine Arts (SPAFACON2021). SEAMEO SPAFA, 2021. http://dx.doi.org/10.26721/spafa.pqcnu8815a-27.

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Based on the two inscriptions dated 1546 and 1564 on the walls of the North Gallery-East Wing and the East Gallery-North Wing of the 12th century Angkor Wat, George Coedes has dated the completion of the bas reliefs on these wings to the 16th century. This dating finally underscores that the bas reliefs on the walls of the galleries of the third enclosure of Angkor Wat were not all carved during the reign of a single Khmer monarch. More significantly is the presence of bossed gongs solely in the north gallery – east wing, where, in other galleries gongs are not illustrated. Two types of bossed gongs are carved – suspended bossed gongs, single or in pairs, and circle gongs with eight to nine bossed gongs. េ􀆌ក George Coedes 􀅡នកំណត់􀃬លបរេ􀇰ច􀄇ទៃន􀃬រ􀆤ងសង់ប􀄟􀄇ប់ៃនច􀅹􀆊 ក់េលៀន្រ􀅡􀆤ទ􀅒ងំ េ􀅜ះ គឺេ􀅝ក􀅛 􀈂ងកំឡ􀈂 ងសតវត្សទី១៦ េ􀄫យែផ􀆵កេ􀅓េល􀈋សិ􀆌􀄉រក􀇺 ចំនួនពីរេ􀅝កំឡ􀈂 ង􀄎􀅚 ំ ១៥៤៦និង􀄎􀅚 ំ១៥៦៤ ែដលស􀅋 ិតេ􀅝េល􀈋ជ􀄥􀄑 ំងៃនែផ􀅚កែថវ􀃱ងេជ􀈋ង􀄘ង􀃱ងេក􀈋តនិងែផ􀅚កែថវ􀃱ងេក􀈋ត􀄘 􀃱ងេជ􀈋ងរបស់្រ􀅡􀆤ទអង􀃴រវត􀅆ែដល􀅡ន􀆤􀅋 ប􀅜េឡ􀈋ងេ􀅝សតវត្សទី១២។ 􀃬រកំណត់ព􀃬ី លបរេ􀇰ច􀄇ទេនះ􀅡នេ􀅪􀅆 តសំ􀃱ន់􀄓ចុងេ្រ􀃬យេ􀅓េល􀈋ច􀅹􀆊 ក់េលៀនេល􀈋ជ􀄥􀄑 ងែថវៃនរបងរ􀈚ព័ទ􀅕ទី៣ របស់្រ􀅡􀆤ទអង􀃴រវត􀅆 ែដលមិន្រត􀈅វ􀅡ន􀄎􀆊 ក់េ􀅝ក􀅛 􀈂ងរជ􀄑􀃬ល្រពះម􀆭ក្ស្រតែខ􀅷 រែតមួយ។ េ􀅝ក􀅛 􀈂ងែផ􀅚កសំ􀃱ន់បែន􀅋 មពីេល􀈋េនះេទៀតគឺ វត􀅆􀅹នគងធំ􀅹នេ􀅝ែផ􀅚កែថវ􀃱ងេជ􀈋ង􀄘ង􀃱ងេក􀈋តែតមួយគត់េ ហ􀈋យរបូ ច􀅹􀆊 ក់គងធំេនះមិន􀅹នវត􀅆􀅹នេ􀅝ែថវដ៏ៃទេទៀតេឡ􀈋យ។ ្របេភទគងចំនួន២្រតវ􀈅 􀅡ន􀄎􀆊 ក់គឺ គងធំ (េ􀅒លឬក៏􀅹នគូរ) និង គង􀅯ក់ក􀅃􀄩 លវង់ែដល􀅹នែផ􀆊សំេនៀងចំនួន៨េ􀅓៩ែផ􀆊។
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Pradipta, Danuh, Kiki Putri et Changkyu Lee. « When Archives are Presented in the Art Gallery ». Dans International Conference on Aesthetics and the Sciences of Art. Bandung, Indonesia : Bandung Institute of Technology, 2020. http://dx.doi.org/10.51555/338656.

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Truckenbrod, Joan, Heather Elliott, Jessica Westbrook, John Grimes, Ron Hutt, Deanna Morse, Jane Stevens et Valerie Sullivan-Fuchs. « Art gallery ». Dans ACM SIGGRAPH 98 Electronic art and animation catalog. New York, New York, USA : ACM Press, 1998. http://dx.doi.org/10.1145/281388.281397.

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Bureaud, Annick, Stephen A. Benton, Deanna Morse et Jane Stevens. « Art gallery ». Dans ACM SIGGRAPH 98 Electronic art and animation catalog. New York, New York, USA : ACM Press, 1998. http://dx.doi.org/10.1145/281388.281398.

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Erickson, Lawrence, et Steven LaValle. « An Art Gallery Approach to Ensuring that Landmarks are Distinguishable ». Dans Robotics : Science and Systems 2011. Robotics : Science and Systems Foundation, 2011. http://dx.doi.org/10.15607/rss.2011.vii.011.

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« D-Art Gallery ». Dans 2019 23rd International Conference in Information Visualization – Part II. IEEE, 2019. http://dx.doi.org/10.1109/iv-2.2019.00007.

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« D-Art Gallery ». Dans 2013 17th International Conference on Information Visualisation. IEEE, 2013. http://dx.doi.org/10.1109/iv.2013.92.

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« D-Art Gallery ». Dans 2014 18th International Conference on Information Visualisation (IV). IEEE, 2014. http://dx.doi.org/10.1109/iv.2014.82.

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« D-Art Gallery ». Dans 2021 25th International Conference Information Visualisation (IV). IEEE, 2021. http://dx.doi.org/10.1109/iv53921.2021.00010.

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Rapports d'organisations sur le sujet "Galleria arte"

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Campbell, J. R. Downtown Art Gallery Jacket. Ames : Iowa State University, Digital Repository, septembre 2016. http://dx.doi.org/10.31274/itaa_proceedings-180814-1585.

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Mahat, Marian, Guy Morrow, Brian Long, Siew Fang Law, Amy Gullickson et Chengxin Guo. Developing an impact framework for Science Gallery Network : Final report. University of Melbourne, 2022. http://dx.doi.org/10.46580/124372.

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The aim of this project was to develop an impact framework for the Science Gallery Network (SGN). This work was commissioned by the Science Gallery International (SGI). The SGN has eight member organisations across four continents: Dublin, London, Melbourne, Bengaluru, Detroit, Rotterdam, Atlanta and Berlin. Whilst the network consistently sees unprecedented levels of accomplishment by its members, a testimony to their capacity, innovation and vision, the SGN does not have a systematic way to measure and monitor this impact. An impact framework that can assist with understanding and reporting the value of this impact will provide important recognition that the SGN has achieved what it sets out to do— bringing science, art, technology and design together to deliver world-class educational and cultural experiences for young people. This report details the robust consultation approach that was undertaken by the University of Melbourne’s project team—one that included a desktop review, focus group discussions, surveys and interviews—to ensure multiple perspectives were gathered on what could be considered a multi-faceted concept. The desktop review provided a thorough review and an environmental scan of the impact literature and its measurement. In addition, the focus group discussions and interviews provided a rich understanding of what ‘good impact’ means for the SGN and the implications of this to the measurement of impact outcomes. Five key recommendations are provided and summarised. Note that these key recommendations should be taken as a point of departure for further in-depth consultation throughout the wider SGN.
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Gattenhof, Sandra, Donna Hancox, Sasha Mackay, Kathryn Kelly, Te Oti Rakena et Gabriela Baron. Valuing the Arts in Australia and Aotearoa New Zealand. Queensland University of Technology, décembre 2022. http://dx.doi.org/10.5204/rep.eprints.227800.

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The arts do not exist in vacuum and cannot be valued in abstract ways; their value is how they make people feel, what they can empower people to do and how they interact with place to create legacy. This research presents insights across Australia and Aotearoa New Zealand about the value of arts and culture that may be factored into whole of government decision making to enable creative, vibrant, liveable and inclusive communities and nations. The COVID-19 pandemic has revealed a great deal about our societies, our collective wellbeing, and how urgent the choices we make now are for our futures. There has been a great deal of discussion – formally and informally – about the value of the arts in our lives at this time. Rightly, it has been pointed out that during this profound disruption entertainment has been a lifeline for many, and this argument serves to re-enforce what the public (and governments) already know about audience behaviours and the economic value of the arts and entertainment sectors. Wesley Enoch stated in The Saturday Paper, “[m]etrics for success are already skewing from qualitative to quantitative. In coming years, this will continue unabated, with impact measured by numbers of eyeballs engaged in transitory exposure or mass distraction rather than deep connection, community development and risk” (2020, 7). This disconnect between the impact of arts and culture on individuals and communities, and what is measured, will continue without leadership from the sector that involves more diverse voices and perspectives. In undertaking this research for Australia Council for the Arts and Manatū Taonga Ministry for Culture & Heritage, New Zealand, the agreed aims of this research are expressed as: 1. Significantly advance the understanding and approaches to design, development and implementation of assessment frameworks to gauge the value and impact of arts engagement with a focus on redefining evaluative practices to determine wellbeing, public value and social inclusion resulting from arts engagement in Australia and Aotearoa New Zealand. 2. Develop comprehensive, contemporary, rigorous new language frameworks to account for a multiplicity of understandings related to the value and impact of arts and culture across diverse communities. 3. Conduct sector analysis around understandings of markers of impact and value of arts engagement to identify success factors for broad government, policy, professional practitioner and community engagement. This research develops innovative conceptual understandings that can be used to assess the value and impact of arts and cultural engagement. The discussion shows how interaction with arts and culture creates, supports and extends factors such as public value, wellbeing, and social inclusion. The intersection of previously published research, and interviews with key informants including artists, peak arts organisations, gallery or museum staff, community cultural development organisations, funders and researchers, illuminates the differing perceptions about public value. The report proffers opportunities to develop a new discourse about what the arts contribute, how the contribution can be described, and what opportunities exist to assist the arts sector to communicate outcomes of arts engagement in Australia and Aotearoa New Zealand.
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Kerrigan, Susan, Phillip McIntyre et Marion McCutcheon. Australian Cultural and Creative Activity : A Population and Hotspot Analysis : Ballarat. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206963.

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Description Ballarat sits on Wathaurong land and is located at the crossroads of four main Victorian highways. A number of State agencies are located here to support and build entrepreneurial activity in the region. The Ballarat Technology Park, located some way out of the heart of the city at the Mount Helen campus of Federation University, is an attempt to expand and diversify the technology and innovation sector in the region. This university also has a high profile presence in the city occupying part of a historically endowed precinct in the city centre. Because of the wise preservation and maintenance of its heritage listed buildings by the local council, Ballarat has been used as the location for a significant set of feature films, documentaries and television series bringing work to local crews and suppliers. With numerous festivals playing to the cities strengths many creative embeddeds and performing artists take advantage of employment in facilities such as the Museum of Australian Democracy at Eureka. The city has its share of start-ups, as well as advertising, design and architectural firms. The city is noted for its museums, its many theatres and art galleries. All major national networks service the TV and radio sector here while community radio is strong and growing.
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Kharkivska, Alla A., Liudmyla V. Shtefan, Muntasir Alsadoon et Aleksandr D. Uchitel. Technology of forming future journalists' social information competence in Iraq based on the use of a dynamic pedagogical site. [б. в.], juillet 2020. http://dx.doi.org/10.31812/123456789/3853.

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The article reveals scientific approaches to substantiating and developing technology to form social information competence of future Iraqi journalists based on using a dynamic pedagogical site. After pre-interviewing students of the Journalism Faculty at Al-Imam Al-Kadhim University College for Islamic Sciences in Baghdad, the authors came to the conclusion there are issues on defining the essence of social information competences. It is established that the majority of respondents do not feel satisfied with the conditions for forming these competences in the education institutions. At the same time, there were also positive trends as most future journalists recognized the importance of these professional competences for their professional development and had a desire to attend additional courses, including distance learning ones. Subsequently, the authors focused on social information competence of future journalists, which is a key issue according to European requirements. The authors describe the essence of this competence as an integrative quality of personality, which characterizes an ability to select, transform information and allows to organize effective professional communication on the basis of the use of modern communicative technologies in the process of individual or team work. Based on the analysis of literary sources, its components are determined: motivational, cognitive, operational and personal. The researchers came to the conclusion that it is necessary to develop a technology for forming social information competence of future journalists based on the use of modern information technologies. The necessity of technology implementation through the preparatory, motivational, operational and diagnostic correction stages was substantiated and its model was developed. The authors found that the main means of technology implementation should be a dynamic pedagogical site, which, unlike static, allows to expand technical possibilities by using such applications as photo galleries, RSS modules, forums, etc. Technically, it can be created using Site builder. Further research will be aimed at improving the structure of the dynamic pedagogical site of the developed technology.
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Raymond, Kara, Laura Palacios et Evan Gwilliam. Status of climate and water resources at Big Bend National Park : Water year 2019. Sous la direction de Tani Hubbard. National Park Service, septembre 2022. http://dx.doi.org/10.36967/2294267.

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Climate and hydrology are major drivers of ecosystem structure and function, particularly in arid and semi-arid ecosystems. Understanding changes in climate, groundwater, streamflow, and water quality is central to assessing the condition of park resources. This report combines data collected on climate, groundwater, and springs at Big Bend National Park (NP) to provide an integrated look at climate and water conditions during water year (WY) 2019 (October 2018–September 2019). However, this report does not address the Rio Grande or its tributaries. Annual precipitation was higher than normal (1981–2010) for Big Bend NP at four of the five National Oceanic and Atmospheric Administration Cooperative Observer Program weather stations: 111% of normal for Chisos Basin, 122% of normal for Panther Junction, 155% of normal for Persimmon Gap, and 124% of normal for Rio Grande Village. Castolon had 88% of normal annual precipitation. All five stations had higher than normal rainfall in October and December, while rainfall totals were substantially below normal at all stations in November, February, and March. Monthly precipitation totals for April through September were more variable from station to station. Mean monthly maximum air temperatures were below normal in the fall months, with Panther Junction as much as 7.5°F below normal in October. Monthly temperatures from January through July were more variable. Temperatures in August and September were warmer than normal at every station, up to +9.4°F at Rio Grande Village and +8.7°F at Chisos Basin in July. The reconnaissance drought index values indicate generally wetter conditions (based on precipitation and evaporative demand) at Chisos Basin since WY2016 and at Panther Junction and Persimmon Gap since WY2015, except for WY2017. This report presents the manual and automatic groundwater monitoring results at nine wells. Five wells had their highest water level in or just before WY2019: Panther Junction #10 peaked at 99.94 ft below ground surface (bgs) in September 2018, Contractor’s Well peaked at 31.43 ft bgs in November 2018, T-3 peaked at 65.39 ft bgs in December 2018, K-Bar #6 Observation Well peaked at 77.78 ft bgs in February 2019, and K-Bar #7 Observation Well peaked at 43.18 ft bgs in February 2019. This was likely in response to above normal rainfall in the later summer and fall 2018. The other monitoring wells did not directly track within-season precipitation. The last measurement at Gallery Well in WY2019 was 18.60 ft bgs. Gallery Well is located 120 feet from the river and closely tracked the Rio Grande stage, generally increasing in late summer or early fall following higher flow events. Water levels in Gambusia Well were consistently very shallow, though the manual well measurement collected in April was 4.25 ft bgs—relatively high for the monitoring record—and occurred outside the normal peak period of later summer and early fall. The last manual measurement taken at TH-10 in WY2019 was 34.80 ft bgs, only 0.45 ft higher than the earliest measurement in 1967, consistent with the lack of directional change in groundwater at this location, and apparently decoupled from within-season precipitation patterns. The last water level reading in WY2019 at Oak Springs #1 was 59.91 ft bgs, indicating an overall decrease of 26.08 ft since the well was dug in 1989. The Southwest Network Collaboration (SWNC) collects data on sentinel springs annually in the late winter and early spring following the network springs monitoring protocol. In WY2019, 18 sentinel site springs were visited at Big Bend NP (February 21, 2019–March 09, 2019). Most springs had relatively few indications of natural and anthropogenic disturbances. Natural disturbances included recent flooding, drying, and wildlife use. Anthropogenic disturbances included flow modifications (e.g., springboxes), hiking trails, and contemporary human use. Crews observed one to seven facultative/obligate wetland plant...
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Coombs, HC opening exhibition of contemporary Australian paintings at Art Gallery - September 1955. Reserve Bank of Australia, septembre 2022. http://dx.doi.org/10.47688/rba_archives_pn-002886.

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