Bibliografie tematiche / Art critics

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Letteratura scientifica selezionata sul tema "Art critics"

Autore: Grafiati
Pubblicato: 4 giugno 2021
Ultima modifica: 16 novembre 2024

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Articoli di riviste sul tema "Art critics"

1

Goodwin, C. D. "The Economics of Art through Art Critics' Eyes". History of Political Economy 31, Supplement (1 gennaio 1999): 157–84. http://dx.doi.org/10.1215/00182702-31-supplement-157.

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HAUSKELLER, MICHAEL. "The Art of Misunderstanding Critics". Cambridge Quarterly of Healthcare Ethics 25, n. 1 (gennaio 2016): 153–61. http://dx.doi.org/10.1017/s0963180115000407.

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Greeniaus, Elizabeth. "Vernon Lee: Art Lover". ELH 91, n. 1 (marzo 2024): 123–48. http://dx.doi.org/10.1353/elh.2024.a922011.

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Abstract: Victorian art critic and historian Vernon Lee is best known for her theory of empathy, which attributes art viewers' consciously held aesthetic preferences to unconsciously felt physiological responses to visual stimuli. Scholars have been especially interested in the ways empathy anticipates modernist and New Critical emphases on objectivity and empiricism, often treating empathy as the culmination of Lee's career. This article turns to lesser-known texts by Lee to show that she went on to have serious misgivings not only about her own physiological theory of aesthetics but about other critics' pursuits of objectivity and empiricism as well.
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Siegesmund, Richard. "Art education and art world". Visual Inquiry 10, n. 2 (1 agosto 2021): 253–55. http://dx.doi.org/10.1386/vi_00049_1.

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For your purposes as an art educator, how do you define ‘art’ and ‘artist’? Some critics argue that, in today’s art world, the ‘institutional’ definition of art reigns. What other definitions of art seem credible and useful to you as an art educator?
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Levy, Emanuel. "Art Critics and Art Publics: A Study in the Sociology and Politics of Taste". Empirical Studies of the Arts 6, n. 2 (luglio 1988): 127–48. http://dx.doi.org/10.2190/9cw3-kxhe-g921-yapw.

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This article examines theoretically and empirically a central question in the sociology of art: the role of art critics and their influence on artists, art works, and art publics. The study compares two taste subcultures: the artistic tastes of professional theater critics and the lay public. It is based on empirical research on critics' and publics' assessments and reactions to theatrical productions in Israel over a period of half a century, from 1918 to 1968. These differential reactions are described and explained in terms of three variables: the type of publication in which the plays were reviewed (mass versus elite publications), the historical time-period (the pre-statehood versus the post-statehood era), and the type of play presented (specifically Jewish versus non-Jewish plays). Patterns of agreement and disagreement among the critics, and between the critics and the larger public are described and analyzed. The article concludes with a discussion of the changes in the roles of critics and in the functions of the theatrical institution, which are examined in relation to Israel's changing political, demographic, and social settings from 1918 to 1968.
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Widyaevan, Dea Aulia. "Kajian Kritik Seni Instalasi Tisna Sanjaya - “32 Tahun Berpikir dengan Dengkul”". JURNAL RUPA 2, n. 1 (10 gennaio 2018): 13. http://dx.doi.org/10.25124/rupa.v2i1.752.

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Art critics has become a way to reveal and appreciate content lies behind its appearences. Thus signified an important role on reading an art work by analyze the reasoning behind the artworks, through the artist statement, intention and the translation on relating medium. The process of reasoning require several steps which enhance the art critic's methods. On this case , a method of Feldman' art critics has been applied to anaylize an installation work of Tisna Sanjaya – “32 Tahun Berpikir dengan Dengkul”. Feldman theory divide art critics method into four steps: description, formal analysis, interpretation and evaluation. This analysis require contextual reading due the impact of this art works into social, politic relation outside the artworld itself. Tisna's work has become one pioneer on installation artwork in Bandung, which also has a significance role of enggaging public reaction which create a paradoxes. Further more, provoke the government security (Satpol PP) to burn this artwork in Babakan Siliwangi as well as his other works "Doa untuk yang Mati”.
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Curtin, Brian. "Critical Mess: Art Critics on the State of Their Practice". Circa, n. 122 (2007): 108. http://dx.doi.org/10.2307/25564881.

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Gradinskaitė, Vilma. "Jewish Art Studies in the Lithuanian Yiddish Press of the Interwar Period (1918–1940)". Art History & Criticism 20, n. 1 (30 ottobre 2024): 32–52. http://dx.doi.org/10.2478/mik-2024-0003.

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Summary Lithuanian art studies as an independent branch of science began to take shape in the First Republic of Lithuania between year 1918 and 1940. During 22 years in a multinational free state, it followed a winding path of mastery, professionalism, and the formation of a critic’s thought. However, if the origins, development, and forms of interwar Lithuanian art studies already are being explored, the Jewish art studies are still waiting for its first investigations. The purpose of this article is to broaden the scope of Lithuanian art research by incorporating the layers of interwar Jewish art studies conducted in the Yiddish language. Using the combined methodology of research as method of source studies, the aspects of social history of art and the comparative method, the Jewish art studies were analysed as a specific phenomenon which functioned alongside Lithuanian art studies. Throughout this research, over 1,000 Yiddish publications were reviewed to find the answers to the never previously discussed questions – how many Jewish art historians and critics contributed articles to the Yiddish press, what kind and quality of publications about Jewish art were featured, what aspects of Jewish art, artists, and society did Jewish art critics emphasise, and what kind of relationship existed among art critics, artists and public. The article also encompasses the short biographies of the most prominent Jewish authors in the field of art criticism.
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Barrett, Terry. "Art is". Visual Inquiry 10, n. 2 (1 agosto 2021): 233–35. http://dx.doi.org/10.1386/vi_00032_1.

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Abstract (sommario):
For your purposes as an art educator, how do you define ‘art’ and ‘artist’? Some critics argue that, in today’s art world, the ‘institutional’ definition of art reigns. What other definitions of art seem credible and useful to you as an art educator?
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Will, Ralf G. "ABSTRACT MANUAL OF ANTI-ART DEFIES CRITICS". International Journal of Advance Research in Education & Literature (ISSN 2208-2441) 10, n. 9 (19 settembre 2024): 7–13. http://dx.doi.org/10.61841/480fgy93.

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This article on ir-relevance of Art criticism and its perpetrators, the maligned re-viewers, explores how close Kurt Schwitter`s points of reference here are aligned to ANTOA, the New Theory of Art. Schwitters (pronounce Sh-wit-ash) as main exponent of Hannover`s circle of avantgarde artists in interregnum between World War I and II (ca 1920 to 1939), was an accomplished yet often misunderstood creator, busy in fields of painting, sculpting, graphic design and literature. Furthermore the link between Schwitter`s influential quote on the value of „Abstract Non-Art“ and 1950ies/60ies phenomena of theatrical performance are investigated. This as much as application of points 3 – old make new, 4 – abstraction, where does it come from and where does it lead to?and 5 – message and symbolism, in relation to ANTOA, come under the spotlight.I begin with an imaginary question from my series ROLE OF ARTIST IN SOCIETY, 24 INTERVIEWS FROM SOUTH AFRICA
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Tesi sul tema "Art critics"

1

COUTO, RENATA DE CAMPOS. "GONZAGA DUQUE: CRITICS ART AND THE EXPERIENCE OF MODERNITY". PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2007. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=11401@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
A presente dissertação propõe analisar a atuação de Gonzaga Duque como crítico de arte. Este trabalho reconstrói o percurso das influências estéticas que compuseram o universo teórico de referência para a atuação de Gonzaga Duque como crítico de arte. Esse estudo aborda com maior ênfase o engajamento simbolista do autor, mas igualmente compõe um quadro de diferentes fontes e experiências críticas citando artistas e críticos contemporâneos de seu período, como por exemplo, Baudelaire, Zola e Ruskin. Este estudo indica que Gonzaga Duque conseguia realizar uma crítica ao mesmo tempo experimental e teórica e que nutria essa certa generosidade de se manter sempre aberto aos desafios do presente, conseguindo forjar uma concepção singular de modernidade. A dissertação também se propõe analisar os artigos de crítica de arte referentes a alguns artistas relevantes no período, realizando uma análise formal concomitante com o texto do autor. Dessa forma, esse estudo permite pensar as amplitudes, mas também os limites da crítica de arte, principalmente no que tange a compreensão de certa modernidade plástica, não incorporada pelo autor, explicitando a sua condição de sujeito circunscrito no seu meio cultural. O estudo permite pensar as especificidades deste período histórico compondo um cenário social e cultural, com seus principais referenciais, indicando os aspectos singulares que permitiu ao Gonzaga Duque realizar uma crítica prol de um alargamento das fronteiras da visualidade na arte brasileira.
The present dissertation aims to analyze the performance of Gonzaga Duque as an art critic. This work reconstructs the trajectory of the aesthetic influences that had composed the theoretical universe of reference for the performance of Gonzaga Duque as an art critic. This study emphasizes the relationship of the author with the Symbolism, but equally approaches different sources and critical experiences involving contemporaries` artists and critics with relevance for its period, such as Baudelaire, Zola and Ruskin. This study indicates that Gonzaga Duque has a successful acting as critic, performing at the same time experimental and a theoretical analysis opened to the challenges of the present, building a singular conception of modernity. The dissertation also aims to analyze the art reviews themselves with peculiar emphasis to some relevant artists in the period. This study it allows the meditation about the amplitude, but also the limits of the critic, mainly referring to the comprehension of a certain plastic modernity, not incorporated by the author. Finally, the study allows thinking the specificities of this historical period composing a social and cultural scene, with its main elements, indicating the singular aspects that allowed to the Gonzaga Duque to cross the borders of the Brazilian art.
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Schlenker, Sabine. "Mit dem "Talent der Augen": Der Kunstkritiker Emil Heilbut (1861-1921) : ein Streiter für die moderne Kunst im Deutschen Kaiserreich". Kromsdorf VDG Weimar, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2929791&prov=M&dokv̲ar=1&doke̲xt=htm.

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Christofides, Sheila School of Art History &amp Theory UNSW. "The intransigent critic: reconsidering the reasons for Clement Greenberg???s formalist stance from the early 1930s to the early 1970s". Awarded by:University of New South Wales. School of Art History and Theory, 2004. http://handle.unsw.edu.au/1959.4/20562.

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This thesis investigates the reasons for Greenberg???s aesthetic intransigence ??? that is, his adherence to a formalist/purist stance, and his refusal to countenance non-purist twentiethcentury avant-garde trends evident in the art he ignored or denigrated, and in the art he promoted. The most substantial body of work challenged is Cold War revisionism (exemplified by the scholarship of Francis Frascina, Serge Guilbaut, and John O???Brian) which casts Greenberg as a politically expedient party to the imperialist agendas of various CIA-funded organisations. The major conclusions reached are that: Greenberg???s aesthetic intransigence was driven by a similarly intransigent ethico-political position, and that his critical method reflected patterns of argumentation set up in ???Avant-Garde and Kitsch??? (1939). This essay, and Greenberg???s ethico-political position, derived, not least, from his direct encounter with American Nazism and anti-Semitism which led him to realise that America (with what he saw as its decadence, cultural apathy, and low-level mass taste) was as vulnerable to the threat of totalitarianism as Europe and Russia. Reflecting this fear, ???Avant-Garde and Kitsch??? had juxtaposed a stagnant, impure culture with a vigorous avantgarde culture of impeccable vintage ??? in the process infusing politics into a formalist, historical conception of modernism Greenberg first devised in the early 1930s and then augmented, during 1938-9, with Hans Hofmann???s theories and others. Thus established, this rudimentary paradigm for Greenberg???s art writing was elaborated upon and made canonical in ???Towards a Newer Laocoon??? (1940), and entrenched after the war concurrent with the entrenchment of his ethico-political position. In the face of a Stalinist/capitalist war of wills, continuing anti-Semitism, and what Greenberg perceived as increasing decadence, he continued to argue for a serious, professionally-skilled (predominantly abstract) art, which would be resistant to the ersatz, yet not dehumanized by excluding the natural. By promoting this as the only genuine avant-garde art (while ignoring or denigrating playful, humorous and anarchic avant-garde tendencies), and by reiterating in the 1950s his pre-war Marxist sympathies, Greenberg was effectively demonstrating his continued hope for a utopian culture (luxuriant, formal, informed and socialist) first visualised in the late 1930s.
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Clark, Lenore. "Forbes Watson : independent revolutionary /". Full-text version available from OU Domain via ProQuest Digital Dissertations, 1995.

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5

Potter, Matthew Charles. "The critical turn in British art : the influences of German idealism on British art critics, theorists and practitioners in the late nineteenth century". Thesis, Birkbeck (University of London), 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.416017.

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Gurciullo, Sebastian 1968. "Between art and philosophy : Adorno and Foucault as heirs and critics of Enlightenment". Monash University, School of Literary, Visual and Cultural Studies, 2000. http://arrow.monash.edu.au/hdl/1959.1/7662.

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Lee, Sun-Young Won. "A metacriticaul analysis of contemporary ant critics' practices: Lawrence Alloway, Donald Kuspit and Robert Pincus-Witten for developing a unit for teaching art criticism". The Ohio State University, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=osu1281642549.

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Viselgė, Vita. "Galimybė Nr.4". Master's thesis, Lithuanian Academic Libraries Network (LABT), 2013. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2013~D_20130805_102700-69467.

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Whitham, G. J. "The independent group at the Institute of Contemporary Arts : its origins, development and influences 1951-1961". Thesis, University of Kent, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.244238.

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Tzoumakas, Dēmētrēs (Dimitris). "Ho hermaphroditos tou kēpou tōn grammatōn : hē synklisē poiētikou kai kritikou logou sto ergo tou Nikola Kalas". Thesis, The University of Sydney, 1999. https://hdl.handle.net/2123/27932.

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Achieving fame and notoriety in the 1930s as an avant-garde Greek poet and Marxist critic, Nikolaos Kalamaris (1907-1988) — better known by his pseudonyms of Nicolas Calas, Nikitas Randos and M. Spieros — went on to write poetry and criticism in French and finally to pursue a successful academic career in the United States as an art critic and historian. The aim of this thesis is to investigate what common threads run through his multifaceted and multilingual writings, and in particular to what extent his poetry corresponds to the artistic program set out in his critical works. Part I (chapters 1-3) deals with Calas’ poetry, while Part 11 (chapters 4-7) examines his critical and theoretical writings. As is explained in the Introduction, the thesis is based on the full corpus of Calas’ poetry (five small collections, two volumes of collected poems, plus a few poems published only in journals), on his six books of theory and criticism, and on numerous smaller texts published in journals and exhibition programs. The thesis includes a list of Calas’ published works more complete than any previously available. Some private letters and other material from his personal archives have also been taken into account. The first chapter examines Calas’ Greek poetry in relation to avant-garde movements of the inter-war period — in particular expressionism, futurism and surrealism. The Marxist influence in his poetry is the subject of the second chapter, while the third deals with intertextual references, in particular to the “extreme” demoticism of Psycharis (of which Calas strongly disapproves), to ancient Greek culture (which he knows intimately but refuses to fetishise), and to his contemporaries and predecessors on the Greek literary scene, to whom he directs an incisive and frequently negative commentary. The fourth chapter examines Calas’ early critical and theoretical writings, up to 1938, concentrating in particular on his treatment of Marxist themes, his critical attitude to the doyen of Greek poetry at the time, Kostis Palamas, and his views on Cavafy — often regarded as the founder of Greek modernism — and on Calas’ contemporary and fellow-Marxist, Ritsos. The thesis proceeds in Chapter Five to discuss Marxist and Freudian elements in Calas’ treatment of surrealism in his major French work Foyers d ’incendie (1938). The last two chapters examine two major aspects of his American period: firstly his work as a theorist of and apologist for surrealism, and finally his writings on art criticism. The overall conclusion is that, even though the fact that he wrote comparatively little poetry in the post-war period makes a detailed parallel study of his literary and critical development impractical, there is indeed a close correspondence between theory and practice in Calas’ work as a whole. An important but little-known text, “Towards a third Surrealist Manifesto”, is presented in Greek translation in Appendix I, while Appendix II offers a summary account of the Calas Archive in the National Art Gallery in Copenhagen.
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Libri sul tema "Art critics"

1

Crawford, Holly. Outsourced critics & critical conversations in a limo. New York, NY: AC Books, 2013.

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Tan, Chee Khuan. A criticism of art critics. Penang: The Art Gallery, 2002.

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3

Mahsun, Carol Anne Runyon. Pop art and the critics. Ann Arbor, Mich: UMI Research Press, 1987.

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Fō̜ngsamut, ʻAk. Brand New 2010 art project & art critics: Khrōngkān sinlapakam. Bangkok: Bangkok University Gallery, 2010.

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Tomorrow, Korea. Brilliant critics .: 10 curators 10 artists. Korea: Korea Tomorrow, 2017.

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Lü, Qingfu. Yi ping jia qun xiang =: Art criticism and art critics. [Taibei]: Guo li li shi bo wu guan, 1997.

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1955-, Rubinstein Raphael, a cura di. Critical mess: Art critics on the state of their practice. Lenox, Mass: Hard Press Editions, 2006.

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Rubinstein, Raphael. Critical mess: Art critics on the state of their practice. Lenox, MA: Hard Press Editions, 2006.

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Stefano, Casciani, a cura di. Pierre Restany: Il critico come artista = the critic that was an artist. Rozzano (Milano): Domus, 2004.

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Sweden) Pressures on art criticism (2004 Moderna museet Stockholm. Pressures on art criticism: What is an independent art critic today? Lund: The Swedish Art Critics Association Press, 2009.

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Capitoli di libri sul tema "Art critics"

1

Jones, Michaela. "Art Critics". In The Palgrave Encyclopedia of Victorian Women's Writing, 1–9. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-02721-6_253-1.

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Jones, Michaela. "Art Critics". In The Palgrave Encyclopedia of Victorian Women’s Writing, 67–75. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-78318-1_253.

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Shusterman, Richard. "Art as Religion". In Danto and his Critics, 249–66. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781118253045.ch15.

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Solomon, Robert C., e Kathleen M. Higgins. "Atomism, Art, and Arthur". In Danto and his Critics, 172–96. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781118253045.ch11.

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Shapiro, Gary. "Art and Its Doubles". In Danto and his Critics, 197–214. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781118253045.ch12.

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Carroll, Noël. "Danto's New Definition of Art and the Problem of Art Theories". In Danto and his Critics, 146–52. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781118253045.ch9.

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Rollins, Mark. "The Invisible Content of Visual Art". In Danto and his Critics, 41–54. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781118253045.ch3.

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Menshikova, Anastasiia, Daria Maglevanaya, Margarita Kuleva, Sofia Bogdanova e Anton Alekseev. "Art Critics and Art Producers: Interaction Through the Text". In Communications in Computer and Information Science, 113–24. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-02846-6_9.

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Cohen, Ralph. "The Appeals to the Past: Critics and Audiences". In The Art of Discrimination, 381–439. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003251071-8.

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Godlovitch, Stan. "Aesthetes, critics, and the aesthetic attitude*". In Aesthetics and the Philosophy of Art, 78–90. Abingdon, Oxon; New York: Routledge, 2021.: Routledge India, 2021. http://dx.doi.org/10.4324/9781003094401-7.

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Atti di convegni sul tema "Art critics"

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Gomyreva, Olena. "THE ISSUE OF COLOR STUDIES IN TEACHING THE ANALYSIS OF WORKS OF ART FOR ART CRITICS". In EDUCATION AND SCIENCE OF TODAY: INTERSECTORAL ISSUES AND DEVELOPMENT OF SCIENCES. European Scientific Platform, 2022. http://dx.doi.org/10.36074/logos-09.12.2022.79.

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Slamova, Karolina. "CZECH LITERARY CRITICISM FROM THE EXILE PERSPECTIVE". In 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/s28.05.

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The paper deals with the exile view of Czech literary criticism in the past decades, reflected in two essays: one by Igor Hajek, and the other one by Kvetoslav Chvatik. Igor Hajek (1931�1995), a Czech literary critic, who went to exile in 1969, played a significant role in presenting Czech literature abroad. Kvetoslav Chvatik (1930�2012) was a Czech philosopher, aesthetician, art historian, and literary theorist. Hajek taught at universities in the English-speaking world, while Chvatik worked in a German-speaking environment. Two periods are covered and compared in the paper: the first period, the period of pluralistic democracy and the resulting cultural structure when the literary criticism contributed to the fact that Czech literature reached the European level, and the period after February 1948 when the ruling ideology started to interfere in the development of literature. Two completely contradictory conceptions are described showing the radical changes that took place in literary criticism after 1948. The text looks at the role of literary criticism in an era when plurality of opinion is possible, and at the impact of the suppression of freedom of speech on the work of literary critics. It also shows how the process of the shift of literary criticism towards its true function in the spirit of democratising tendencies had gradually won its way.
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Slamova, Karolina. "CZECH LITERARY CRITICISM FROM THE EXILE PERSPECTIVE". In 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/s10.05.

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Abstract (sommario):
The paper deals with the exile view of Czech literary criticism in the past decades, reflected in two essays: one by Igor Hajek, and the other one by Kvetoslav Chvatik. Igor Hajek (1931�1995), a Czech literary critic, who went to exile in 1969, played a significant role in presenting Czech literature abroad. Kvetoslav Chvatik (1930�2012) was a Czech philosopher, aesthetician, art historian, and literary theorist. Hajek taught at universities in the English-speaking world, while Chvatik worked in a German-speaking environment. Two periods are covered and compared in the paper: the first period, the period of pluralistic democracy and the resulting cultural structure when the literary criticism contributed to the fact that Czech literature reached the European level, and the period after February 1948 when the ruling ideology started to interfere in the development of literature. Two completely contradictory conceptions are described showing the radical changes that took place in literary criticism after 1948. The text looks at the role of literary criticism in an era when plurality of opinion is possible, and at the impact of the suppression of freedom of speech on the work of literary critics. It also shows how the process of the shift of literary criticism towards its true function in the spirit of democratising tendencies had gradually won its way.
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Malcoci, Vitalie. "Scenographic art from Moldova - beginnings and evolutions". In Conferința științifică internațională Patrimoniul cultural: cercetare, valorificare, promovare. Ediția XIV. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/pc22.03.

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Th e end of the XIX century intensifi es the theatrical life in Bessarabia, a fact that leads to the improvement of staging methods and plastic and decorative solutions of the stage space. Th is gains even greater revival towards the middle of the XX century, being oft en mentioned by critics in the press of the time, who describe the decorations and the costumes in the staged performances. A new phase in the decorative-theatrical art of Bessarabia begins with the appearance of the great personalities who contributed to the creation and development of the Bessarabian Romanian scenography. Th is phase coincides with the activity of some outstanding personalities of the scene-painting in Bessarabia from the beginning of the XX century, such as Auguste Baillayre, Th eodor Chiriakoff , George Löwendal, Boris Nesvedov, Natalia Bragalia, Elisabeth Ivanovsky, Maria Starcevschi, Natalia Danilcenco, Elena Barlo and others. Th e decorations made by these plastic artists starts to be known to the local public. Th is familiarization takes place mainly through the tours in Bessarabian cities and towns, as well as in cultural centers.
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Ni, Yao, Dandan Song, Xi Zhang, Hao Wu e Lejian Liao. "CAGAN: Consistent Adversarial Training Enhanced GANs". In Twenty-Seventh International Joint Conference on Artificial Intelligence {IJCAI-18}. California: International Joint Conferences on Artificial Intelligence Organization, 2018. http://dx.doi.org/10.24963/ijcai.2018/359.

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Generative adversarial networks (GANs) have shown impressive results, however, the generator and the discriminator are optimized in finite parameter space which means their performance still need to be improved. In this paper, we propose a novel approach of adversarial training between one generator and an exponential number of critics which are sampled from the original discriminative neural network via dropout. As discrepancy between outputs of different sub-networks of a same sample can measure the consistency of these critics, we encourage the critics to be consistent to real samples and inconsistent to generated samples during training, while the generator is trained to generate consistent samples for different critics. Experimental results demonstrate that our method can obtain state-of-the-art Inception scores of 9.17 and 10.02 on supervised CIFAR-10 and unsupervised STL-10 image generation tasks, respectively, as well as achieve competitive semi-supervised classification results on several benchmarks. Importantly, we demonstrate that our method can maintain stability in training and alleviate mode collapse.
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Simonsen, Talette. "The Photo book as Symphony – Ronchamp as Sculpture: Re-composing Architectural Photography". In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.935.

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Abstract: This paper suggests that Le Corbusier’s editorial composition of the book Ronchamp: Les Carnets de la recherche patiente 2 can be regarded as an artisticmanner ofre-composing architectural photography that partly contrasts LeCorbusier’s otherwise conservative concept of the synthesis of the arts,which so far had excluded themediumof photography. The paper proposesthat the book,which was published at a time when The Chapel of Ronchamp (1950-1955) had become controversial among architectural critics, aspired to communicate the architectural project as a work of art by creating links to other art forms, particularly by: 1) emphasizing Hervé’s artistic, partly non-representational, approach to architectural photography; 2) employing principles of musical composition; and 3) approximating photographic practise of documenting sculpture. Keywords: architectural photography, photo book,Lucien Hervé,LeCorbusier, Ronchamp. DOI: http://dx.doi.org/10.4995/LC2015.2015.935
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"Critical art/interactive art/virtual art". In the 20th annual conference, chair Timothy Druckrey. New York, New York, USA: ACM Press, 1993. http://dx.doi.org/10.1145/166117.166176.

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Alexei, Ludmila. "THE RELATIONSHIP BETWEEN TEXT AND PERFORMANCE IN THE RADIO THEATER". In Conferinţa ştiinţifică internaţională „Învăţământul artistic – dimensiuni culturale“ 2023, 145–50. Academy of Music, Theater and Fine Arts, 2024. http://dx.doi.org/10.55383/iadc2023.25.

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The object of the research is the relationship between text and performance in the dramatic theater, text and performance in the radio theater, with the identification of the main similarities and differences between these forms of theatrical art. Our finding starts from the fact that both in the case of radio and dramatic theater, the basis is dramaturgy, i.e. dramatic literature, the plays of authors who have written or are writing specifically for the radio, theater, with the exception that in the sound theater, it is the sound that creates the images in the absence of scenery, lights, scenography etc. The research is based on the concepts of theorists, theater critics, dramatists, script writers who continue to enrich both fields, investigate and indicate the close or distant boundaries between the radio theater and dramatic theater, as well as discover new directions of development and innovation in the field of forms of exposition of the ideational message through the theater in the 20th century.
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"[Cover art]". In 2012 Second Brazilian Conference on Critical Embedded Systems (CBSEC). IEEE, 2012. http://dx.doi.org/10.1109/cbsec.2012.30.

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Yuwono, Untung, e Bernadette Kushartanti. "THE POWER OF ONLINE MEDIA: CRITICAL DISCOURSE ANALYSIS OF SECURITY CRITICS". In International Conference on Arts and Humanities. The International Institute of Knowledge Management - TIIKM, 2018. http://dx.doi.org/10.17501/icoah.2017.4202.

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Rapporti di organizzazioni sul tema "Art critics"

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Muñoz Molina, Antonio. Cervantes and the Art of Storytelling. Inter-American Development Bank, maggio 2005. http://dx.doi.org/10.18235/0007955.

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Haith, Michael E. CINC-ronization (Synchronization): The Critical Tenet in Future Operational Art. Fort Belvoir, VA: Defense Technical Information Center, maggio 1990. http://dx.doi.org/10.21236/ada234163.

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Aston, Thomas, e Marina Apgar. The Art and Craft of Bricolage in Evaluation. Institute of Development Studies, ottobre 2022. http://dx.doi.org/10.19088/ids.2022.068.

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This CDI Practice Paper by Tom Aston and Marina Apgar makes the case for ‘bricolage’ in complexity-aware and qualitative evaluation methods. It provides a framework based on a review of 33 methods to support evaluators to be more intentional about bricolage and to combine the component parts of relevant methods more effectively. It discusses two cases from practice to illustrate the value added of taking a more intentional approach. It further argues that navigating different forms of power is a critical skill for bricolage, and that doing so can help to ensure rigour.
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Aisbett, Emma. Why are the Critics so Convinced that Globalization is Bad for the Poor? Cambridge, MA: National Bureau of Economic Research, gennaio 2005. http://dx.doi.org/10.3386/w11066.

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Comstock, Andrew, Todd Benson e Flora Nankhumi. A critical review of Malawi’s Special Crops Act and Agriculture (General Purposes) Act. Washington, DC: International Food Policy Research Institute, 2019. http://dx.doi.org/10.2499/p15738coll2.133043.

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Thursby, Jerry, e Marie Thursby. Are Faculty Critical? Their Role in University-Industry Licensing. Cambridge, MA: National Bureau of Economic Research, settembre 2003. http://dx.doi.org/10.3386/w9991.

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DURRNAT-WHYTE, HUGH. A Critical Review of the State-of-the-Art in Autonomous Land Vehicle Systems and Technology. Office of Scientific and Technical Information (OSTI), novembre 2001. http://dx.doi.org/10.2172/792867.

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Douglas, Mitchel, e John Lindgren. Hypersonic Weapons Technology for the Time Critical Mobile Ground Threat A State-of-the-Art Review,. Fort Belvoir, VA: Defense Technical Information Center, gennaio 1999. http://dx.doi.org/10.21236/ada361137.

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Riedel, Sharon L., Ray A. Morath e Timothy P. McGonigle. Training Critical Thinking Skills for Battle Command: ARI Workshop Proceedings. Fort Belvoir, VA: Defense Technical Information Center, luglio 2001. http://dx.doi.org/10.21236/ada400824.

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Seybold, Patricia. Are You Handling Content Management as a Customer-Critical Issue? Boston, MA: Patricia Seybold Group, luglio 2005. http://dx.doi.org/10.1571/psgp7-23-05cc.

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