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Letteratura scientifica selezionata sul tema "Artists"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 31 luglio 2024

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Articoli di riviste sul tema "Artists"

1

Yu, Sang-Min, e Yun-Suk Lee. "A Study on the Relationship between Institutional Factors and Stress in Popular Culture Artists". Korea Association Of Cultural Economics 27, n. 1 (30 aprile 2024): 181–207. http://dx.doi.org/10.36234/kace.2024.27.1.181.

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This study aims to analyze the stress experienced by popular culture artists in the changing work environment. This study used the data from the '2021 Survey on Artists & Activities' in Korea. We analyzed the impact of institutional factors on artists' stress by popular culture field through Ordered logistic regression analysis between film, broadcast, and popular music artists and their stress levels. Career Interruption, Activities period, education, On-the-job injury, residence area and full-time status of broadcast artist significantly affected artist's stress. Also, Public Pension Salaried Workers of broadcast artist, and Group membership of popular music artist significantly affected artists' stress. On the other hand, Experience with Artist Unemployment Insurance were not found to be significant variables. This study suggests that the impact of institutional factors may differ depending on the nature of the popular culture sector, and shows the social limitations of the Artist Unemployment Insurance. The findings suggest that institutional improvements are needed, such as including artists in the scope of existing welfare schemes.

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Traduzido por Talita Trizoli, Howardena Pindell. "CONSELHOS PARA UM JOVEM ARTISTA NEGRO / Advices to a young black artist". arte e ensaios 27, n. 42 (3 gennaio 2022): 336–41. http://dx.doi.org/10.37235/ae.n42.22.

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Nesse ensaio confessional, a artista afro-americana Howardena Pindell rememora alguns epis�dios de racismo em sua trajet�ria profissional como artista e curadora, al�m de oferecer alguns conselhos profissionais para jovens artistas negros, a fim de escapar de rela��es abusivas de trabalho, golpes e demais�problemas existentes no sistema das artes.Palavras-chave:Ensaio de artista. Sistema das artes. Conselhos.�AbstractIn this confessional essay, the African-American artist Howardena Pindell recalls�some episodes of racism in her professional trajectory as an artist and curator, as well as offering some professional advice to young black artists, in order to escape from abusive work relationships, scams and other problems existing in the arts system.Keywords:Artist essay. Art system. Advice.

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Feyerabend, Paul. "Theoreticians, Artists and Artisans". Leonardo 29, n. 1 (1996): 23. http://dx.doi.org/10.2307/1576272.

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Campbell, Erin J. "Artisans, Artists and Intellectuals". Art History 23, n. 4 (novembre 2000): 622–26. http://dx.doi.org/10.1111/1467-8365.00229.

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5

Primel, Casey, Anupama Rao e Susanna Ferguson. "On Artists and Artisans". Comparative Studies of South Asia, Africa and the Middle East 35, n. 3 (2015): 486–91. http://dx.doi.org/10.1215/1089201x-3426337.

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6

Braden, L. E. A. "Networks Created Within Exhibition: The Curators’ Effect on Historical Recognition". American Behavioral Scientist 65, n. 1 (15 ottobre 2018): 25–43. http://dx.doi.org/10.1177/0002764218800145.

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This research examines artist networks created by shared museum exhibition. While previous research on artistic careers assesses self-cultivated networks, historical recognition may be further influenced by connections created by important others, such as museum curators and art historians. I argue when museum exhibitions show artists together, curators are creating symbolic associations between artists that signal the artist’s import and contextualization within his or her peer group. These exhibition-created associations, in turn, influence historians who must choose a small selection of artists to exemplify a historical cohort. The research tests this idea through a cohort of 125 artists’ exhibition networks in the Museum of Modern Art, New York, from 1929 to 1968 (996 exhibitions). Individual network variables, such as number and quality of connections, are examined for impact on an artist’s recognition in current art history textbooks (2012-2014). Results indicate certain connections created by exhibition have a positive effect on historical recognition, even when controlling for individual accomplishments of the artist (such as solo exhibitions). Artists connected with prestigious artists through “strong symbolic ties” (i.e., repeated exhibition) tend to garner the most historical recognition, suggesting robust associations with historical peers may signify an artist’s exemplary status within his or her cohort, and consequent “good fit” into the historical narrative.

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Jang, Yeonjoo, e Nayeun Choi. "Artists’ Mental Health Research: Trend and Future Directions". Korean Society of Culture and Convergence 44, n. 5 (31 maggio 2022): 529–48. http://dx.doi.org/10.33645/cnc.2022.5.44.5.529.

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This research aims to define artists by examining relevant laws and previous research related to the mental health of Korean artists. Further, this study aims to present the direction for future research on mental health of artists by systematically analyzing research trends. The research questions to be examined in this study are, first, what is the current status of research related to artists' mental health? Second, what research topics are related to artists' mental health? Third, what is the future of research on artist's mental health? A total of 26 articles and dissertations published in Korean journals from 1998 to 2021 were analyzed in this study. By year, research field, research method, presence of term definition, academic field of the researcher, and subject trend were used as criteria for analysis. As a result, research on artist’s mental health has increased since 2014. However, there is a lack of research on various aspects of arts by not having a clear definition of the artist. Furthermore, the rate of research done by non-mental health related fields was higher than mental health-related fields. The research on artists’ mental health such as depression, suicide, and anxiety were the most frequently studied. As future research directions, ‘defining of terms in the art field’, ‘activating interdisciplinary research’, ‘needing for qualitative data’, ‘studying the occupational gap and creative hardships of artists’, as well as ‘expanding on positive variables in research affecting the quality of life of artists’ were proposed. Finally, the limitations and significance of this study were discussed.

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Harris, Catherine T., Philip J. Perricone e Margaret Supplee Smith. "The Artist and Androgyny: A Study of Gender Identity in Visual Artists". Empirical Studies of the Arts 6, n. 1 (gennaio 1988): 67–78. http://dx.doi.org/10.2190/9p69-xcur-c3na-2dck.

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While art is an activity that is socially valued, the image of the artist as perceived by the public and expressed in the literature has rarely been studied empirically. The Adjective Check List is used to test one dimension of this issue—June Wayne's hypothesis that the artist is a stereotypical woman, focusing on the artist's view of himself/herself and artists in general. Data were gathered by means of a questionnaire mailed to 1753 artists who had been nominated for the national Awards in Visual Arts during the first five years of the program (1982–86). It was found that artists tend to have self-images which are androgynous in terms of sex stereotyping, while at the same time, they see artists in general as relatively masculine. It was also found that while artists tend to view their colleagues in favorable terms, they view themselves as individual artists significantly more favorably. The implications of these findings for the profession of art are discussed.

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Marter, Joan, e Amy J. Wolf. "Significant Others: Artist Wives of Artists". Woman's Art Journal 15, n. 2 (1994): 57. http://dx.doi.org/10.2307/1358612.

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Franc, Małgorzata. "Training of Artists or Artisans?" ART Space, n. 3 (2018): 8–11. http://dx.doi.org/10.28925/2519-4135.4.2018.3.2.

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The article analyses the situation in Polish art education after 1990. It is indicated that higher art education in Poland can be obtained in eighteen universities and five affiliates in eleven Polish cities. The complex situation of higher art education is examined. The role of applied arts is noted.

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Più fonti

Tesi sul tema "Artists"

1

Mantooth, Jennifer R. "Muse as artist : selected artists past and present /". Online version of thesis, 1992. http://hdl.handle.net/1850/11227.

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Alkhudair, Maha. "Unveiling Artists: Saudi Female Artists Life Stories". Thesis, Université d'Ottawa / University of Ottawa, 2018. http://hdl.handle.net/10393/37502.

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This study tells the life stories of four Saudi female artists. Using life story narrative approach, I focused on the following research questions: How are Saudi female artists fulfilling their aspirations as artists in the conservative Saudi society? What are the common and divergent themes in the life stories of the Saudi women artists, namely Safeya Binzagr, Maha Almalluh, Tagreed Albagshi, and Fida Alhussan? The artists were interviewed using open-ended questions and asked to discuss their artwork. The postmodern feminism and social construction theories were used to understand their life experiences and how they came to be “successful artists” in the conservative Saudi society. The findings showed that family and formal education played an important role in these women’s life journeys as artists. The Saudi society was also a major influence, sometimes supporting them, at other times obstructing them. These artists share many personality features such as being persistent, believing in themselves, taking risks, facing challenges, being independent, being responsible as artists and as part of society, and being honest in their artwork. This study contributes to the art education curriculum in Saudi schools and universities. Globally, it contributes to women’s studies and to social and cultural studies in shedding light on the Saudi society, especially as it is experienced by women.

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O'Neil, Maryvelma Smith. "Giovanni Baglione : seventeenth-century artist, draughtsman and biographer of artists". Thesis, University of Oxford, 1989. http://ora.ox.ac.uk/objects/uuid:b1494a9e-8c16-4d48-9553-0f63da44cb6c.

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This thesis explores Baglione's contributions to art and to the history of art by examining the nature of his artistic and critical originality and the significant influences thereon. In the work for which he is best known, Le Vite ... (1642), Baglione was an interesting and generous critic who was unusually receptive to pictorial effects, even when in architecture and sculpture. He assesses Caravaggio's accomplishments with well chosen observations thereby breaking his restriction to discuss only accessible works of art. A broad view of his paintings and drawings shows Baglione's complex, original and thoughtful voyage of discovery assisted by the intelligence with which he absorbed artistic influences, particularly from Raphael and the Cavalier d'Arpino. His refined style of drawing distances him from Caravaggio. In paintings from the first decade, light and shadow give form to graceful figures enveloped in voluminous garments. After 1610 the compositions become more inventive and increasingly Baroque. Baglione's attempt to make a synthesis out of ideal generalization and naturalistic description and to explore new subject matter constituted a search for a "maniera propria" that combined stylistic originality with a penchant for unusual iconography. The most important trends in Baglione's draughtsmanship are the tendency towards a broader, freer handling and the versatility with which he handles the technical means at his disposal. Though he often crosses over the line into the Baroque, the idealism of his Tusco-Roman formation and fondness for angular lines constrain him from fully yielding to a dynamic disposition. His very personal style can be seen in a number of drawings from the 1620s and 1630s that attain a remarkable pictorial aspect and a Baroque quality of sensual presence. His sophisticated use of the three chalk technique prefigures the form dissolving effects to be popularized by Watteau. At the same time, the defining contour line that emphasizes integrity is not abandoned.

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McLaughlin, Pamela Ann. "Mapping an identity how women artists develop an artistic identity /". Related electronic resource: Current Research at SU : database of SU dissertations, recent titles available full text, 2006. http://proquest.umi.com/login?COPT=REJTPTU0NWQmSU5UPTAmVkVSPTI=&clientId=3739.

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Blackledge, Aimee. "Materials for the Artist's Mind : Artists as Collectors in Eighteenth-Century England". Thesis, University of Oxford, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.519751.

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Bain, Alison L. "Exhibiting the artist's city : occupational identity construction by contemporary Toroto visual artists". Thesis, University of Cambridge, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.423935.

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Earner, Meaghan. "Allston Artist Village". View thesis online, 2009. http://docs.rwu.edu/archthese/13/.

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8

Dubreuil, Jordan. "Strabismal existence". View thesis online, 2009. http://docs.rwu.edu/archthese/21/.

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Taft, William W. Jr. "The Special Artists". Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/english_diss/100.

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Leung, Lo-ming, e 梁路明. "Artists village-place (space) for artists in Yau Tong Bay, Yau Tong". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31985300.

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Più fonti

Libri sul tema "Artists"

1

Michèle, Grandjean, e Association pour la promotion des arts du monde (Nîmes, France), a cura di. Artistes haïtiens =: Haitian artists. Nîmes: A.P.A.M., Association pour la promotion des arts du monde, 2002.

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Association pour la promotion des arts du monde (Nîmes, France), a cura di. Artistes haïtiens: Haitian artists. Nîmes: A.P.A.M., Association pour la promotion des arts du monde, 2002.

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3

Clive, Phillpot, e Weatherspoon Art Gallery, a cura di. Artist/author: Contemporary artists' books. New York: Distributed Art Publishers, 1998.

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4

Pigorini, Museo preistorico-etnografico Luigi, a cura di. Women in charge: Artiste Inuit contemporanee = Inuit contemporary women artists = artistes Iunuit contemporaines. Milano: Officina libraria, 2011.

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5

Ecuador. Ministerio de Relaciones Exteriores, a cura di. Artistas plásticos del Ecuador: Ecuador's plastic artists. Quito: Ministerio de Relaciones Exteriores, Direccíon General de Promoción Cultural, 2002.

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6

Prada, Teresa de. Bolivian artists' guide =: Guía de artistas bolivianos. La Paz, Bolivia: [s.n., 1991.

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Volkswagen do Brasil, S.A., a cura di. Artistas do muralismo brasileiro =: Brazilian mural artists. [São Paulo?]: Volkswagen do Brasil, 1988.

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Prada, Teresa de. Bolivian artists' guide =: Guía de artistas bolivianos. La Paz, Bolivia: [s.n., 1991.

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Rome, British School at, a cura di. Ten artists: Dieci artisti dell'Accademia Britannica 1988. Rome: (British School at Rome), 1988.

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Museu da Presidência da República (Portugal), a cura di. Artistas portugueses lá fora: Portuguese artists abroad. [Lisbon]: Museu da Presidência da República, 2009.

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Capitoli di libri sul tema "Artists"

1

Hillyer, Richard. "Artists". In Divided between Carelessness and Care, 69–98. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137368638_4.

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Jallinoja, Riitta. "Artists". In Families, Status and Dynasties, 225–56. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-58073-3_6.

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Daloz, Jean-Pascal. "Artists". In Expressions of High Status, 227–39. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-05401-3_14.

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Theran, Susan. "Artists’ Biographies". In Leonard’s Price Index of Latin American Art at Auction, 29–114. London: Palgrave Macmillan UK, 1999. http://dx.doi.org/10.1007/978-1-349-15084-7_4.

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Cromhout, Gavin, Josh Fallon, Nathan Flood, Katy Freer, Jim Hannah, Francine Spiegel, Pete Walsh e James Widegren. "Imitating Artists". In Photoshop Elements 2 Face Makeovers, 221–59. Berkeley, CA: Apress, 2003. http://dx.doi.org/10.1007/978-1-4302-5179-8_8.

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Elsner, Peter. "Sugar Artists". In Kanerva’s Occupational Dermatology, 1–2. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-40221-5_192-2.

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Gonçalo, Margarida. "Tattoo Artists". In Kanerva’s Occupational Dermatology, 1–4. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-40221-5_194-2.

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Elsner, P. "Sugar Artists". In Handbook of Occupational Dermatology, 1102. Berlin, Heidelberg: Springer Berlin Heidelberg, 2000. http://dx.doi.org/10.1007/978-3-662-07677-4_176.

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Kanerva, L. "Tattoo Artists". In Handbook of Occupational Dermatology, 1109. Berlin, Heidelberg: Springer Berlin Heidelberg, 2000. http://dx.doi.org/10.1007/978-3-662-07677-4_178.

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Van Assche, Annelies. "‘Lifestyle Artists’". In Labor and Aesthetics in European Contemporary Dance, 73–86. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-40693-6_4.

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Atti di convegni sul tema "Artists"

1

Wright, Dr Angela. "Artist Graduates: Are they ready to do Business?" In HEAd'16 - International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/head16.2016.2493.

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Businesses must expose their products and services to customers so as to make sales and be heard. The world of the artist[1] is no different, and, in the words of the late Luciano Pavarotti, the artist must ‘be heard and be seen’. The aim of this paper is to examine if there is a need to ensure that our artistic graduates are ‘market ready’. The paper specifically examines this concept in the context of an Irish Institute of Technology (IT). Artists generally do not view the world in terms of business & commerce, only as a creative space. This research study investigates if there is a need for a special purpose award that would allow already qualified or working artists who have missed out on business education to take business modules at any stage in their careers. The findings in this study are rich and the attitudes to the business world by participating artists are interesting. Having established that artists need some business education, this paper then proceeds to outline what may be needed now, and in the future. Keywords: Artist, Musicians, Business Education, Business World. [1] For the purpose of this paper, the term ‘artist’ is deemed to refer to both performing and visual artists.

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Comninos, Peter, Leigh McLoughlin e Eike Falk Anderson. "Educating technophile artists". In ACM SIGGRAPH ASIA 2009 Educators Program. New York, New York, USA: ACM Press, 2009. http://dx.doi.org/10.1145/1666611.1666612.

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Diamond, Sara. "Artists & designers". In the 8th ACM conference. New York, New York, USA: ACM Press, 2011. http://dx.doi.org/10.1145/2069618.2069651.

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Gold, Rich, Char Davies, Michael Naimark, Mark Petrakis, Stephen Wilson e Sara Roberts. "Artists in multimedia". In the second ACM international conference. New York, New York, USA: ACM Press, 1994. http://dx.doi.org/10.1145/192593.192678.

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Meulien-Ohlmann, Odile. "Artists and collectors". In Display Holography: Fifth International Symposium, a cura di Tung H. Jeong. SPIE, 1995. http://dx.doi.org/10.1117/12.201945.

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Chang, Minsuk, Stefania Druga, Alexander J. Fiannaca, Pedro Vergani, Chinmay Kulkarni, Carrie J. Cai e Michael Terry. "The Prompt Artists". In C&C '23: Creativity and Cognition. New York, NY, USA: ACM, 2023. http://dx.doi.org/10.1145/3591196.3593515.

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Ndejuru, Lisa. "Artists Mentoring Artists in the Telling of Difficult Lived Experiences". In 2021 AERA Annual Meeting. Washington DC: AERA, 2021. http://dx.doi.org/10.3102/1689383.

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Garcia, Alejandro L., Alice A. Carter, J. Courtney Granner e David Chai. "Physics for animation artists". In SIGGRAPH '09: Posters. New York, New York, USA: ACM Press, 2009. http://dx.doi.org/10.1145/1599301.1599378.

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GREATED, M., e C. GREATED. "ARTISTS AND SCIENTISTS WORKING". In Spring Conference Acoustics 2008. Institute of Acoustics, 2023. http://dx.doi.org/10.25144/17577.

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Barbosa, Gabriel R. G., Bruna C. Melo, Gabriel P. Oliveira, Mariana O. Silva, Danilo B. Seufitelli e Mirella M. Moro. "Hot Streaks in the Brazilian Music Market: A Comparison Between Physical and Digital Eras". In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19440.

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Consuming music through streams has made huge volumes of data available. We collect a part of such data and perform cross-era comparative analyses between physical and digital media for successful artists within the music market in Brazil. Given an artist’s career, we focus on hot streak periods defined as high-impact bursts occurring in sequence. Specifically, we construct artists’ success time series to detect and characterize hot streak periods for both physical and digital eras. Then, we assess their features, analyze them in the genre scale, and perform a cluster analysis to identify groups of artists with distinct success levels. For both physical and digital eras, we find the same clusters: Spike Hit Artists, Big Hit Artists, and Top Hit Artists. Our insights shed light on significant changes in the dynamics of the music industry over the years, by identifying the core of each era.

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Rapporti di organizzazioni sul tema "Artists"

1

O'Brien, K. Artists commemorated on maps. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 1988. http://dx.doi.org/10.4095/298276.

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Heddon, Dee, Clare Qualmann, Morag Rose, Harry Wilson e Maggie O'Neill. #WalkCreate: Artists' Walking Work and COVID-19. Walking Publics/Walking Arts Artists' Report, January 2023. Walking Publics/Walking Arts, gennaio 2023. http://dx.doi.org/10.36399/gla.pubs.293342.

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Galenson, David. The Life Cycles of Modern Artists. Cambridge, MA: National Bureau of Economic Research, febbraio 2002. http://dx.doi.org/10.3386/w8779.

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Sequeira, Dora María, Ileana Alvarado V. e Félix Angel. Young Costa Rican Artists: Nine Proposals. Inter-American Development Bank, agosto 2007. http://dx.doi.org/10.18235/0006438.

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Nine artists, all living in Costa Rica, were selected out of thirty-four who responded to an open call to present portfolios. The selection criteria is to be forty years of age or younger, have had at least one individual show, and have participated in a minimum of three group exhibitions. The exhibition has been organized by the IDB Cultural Center in collaboration with the Foundation of the Central Bank Museums of Costa Rica. Works include installations and interactive digital art, digital graphics, conventional photography, ceramics, painting, wire drawing and design objects manufactured with recycled materials. Artists include Víctor Agüero Gutiérrez, Jorge Albán Dobles, Tamara Ávalos León, Paco Cervilla Cartín, Carolina Guillermet Dejuk, José Alberto Hernández Campos, Sebastián Mello Salaberry, Francisco Munguía Villalta, and Guillermo Vargas Jiménez (a.k.a. Habacuc). The exhibit was part of the IDB Cultural Center¿s 15th anniversary celebration (1992-2007).

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Angel, Félix, e Cristina Rossi. Latin American Artists of Italian Descent. Inter-American Development Bank, agosto 2011. http://dx.doi.org/10.18235/0006441.

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This catalogue belongs to the exhibit that celebrates the 150th Anniversary of Italy's Unification. The exhibition includes a selection of art works by Latin American artists of Italian descent that constitutes a symbolic yet significant exploration of the Italian cultural presence and its influence in Latin America. Among the artists included are: Héctor Borla, Sergio Camporeale, Ricardo Crivelli, Eduardo Medici, Emilio Pettoruti, and Rogelio Polesello (Argentina), Lyria Palombini (Brazil), Roberto Sebastián Matta (Chile), Umberto Giangrandi (Colombia), Francisco Amighetti (Costa Rica), Javier Bassi, Miguel A. Battegazzore, José Belloni, Enrique Broglia, Pedro Figari, Antonio Frasconi, Diego Masi and Carlos María Tonelli (Uruguay). The catalogue comprises an essay on the interaction of experiences between Italy and Latin America by Professor Cristina Rossi. The text can be found in English, Spanish and Italian.

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Kupfer, Monica E. Perceptive Strokes: Women Artists of Panama. Inter-American Development Bank, marzo 2013. http://dx.doi.org/10.18235/0006215.

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The IDB Cultural Center is proud to host this exhibit honoring the Republic of Panama, host country of the IDB Annual Meeting, which will take place from March 14¿20, 2013. The exhibition highlights the history of modern and contemporary art by Panamanian women and will include paintings, photographs, sculptures, and video art from the 1920s to the present. The 22 artworks, selected by Panamanian curator Dr. Monica E. Kupfer, reveal the ways in which a varied group of female artists have experienced and represented significant geopolitical events in the nation¿s history. Their interpretations also show the position of women in Panamanian society, and their views of themselves through their own and others¿ eyes. Among the artists are: Susana Arias, Beatrix (Trixie) Briceño, Fabiola Buritica, Coqui Calderón, María Raquel Cochez, Donna Conlon, Isabel De Obaldía, Sandra Eleta, Ana Elena Garuz, Teresa Icaza, Iraida Icaza, Amelia Lyons de Alfaro, Lezlie Milson, Rachelle Mozman, Roser Muntañola de Oduber, Amalia Rossi de Jeanine, Olga Sánchez, Olga Sinclair, Victoria Suescum, Amalia Tapia, Alicia Viteri, and Emily Zhukov.

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Greer, Stephen, e Bryony White. Live Art Scotland Practitioner Directory. University of Glasgow, gennaio 2022. http://dx.doi.org/10.36399/gla.pubs.265874.

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Heddon, Dee, Clare Qualmann, Morag Rose, Harry Wilson e Maggie O'Neill. Data and Analysis of Artists’ Walking Survey: A Supplement to Artists’ Walking Work and COVID-19. Walking Publics/Walking Arts, febbraio 2023. http://dx.doi.org/10.36399/gla.pubs.293343.

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Galenson, David. The Greatest Artists of the Twentieth Century. Cambridge, MA: National Bureau of Economic Research, dicembre 2005. http://dx.doi.org/10.3386/w11899.

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Lazarus, Michelle. Artists can expose the reality behind AI. A cura di Grace Jennings-Edquist. Monash University, aprile 2024. http://dx.doi.org/10.54377/baea-2e0d.

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