Gotowa bibliografia na temat „Photography of interiors – Exhibitions”
Utwórz poprawne odniesienie w stylach APA, MLA, Chicago, Harvard i wielu innych
Spis treści
Zobacz listy aktualnych artykułów, książek, rozpraw, streszczeń i innych źródeł naukowych na temat „Photography of interiors – Exhibitions”.
Przycisk „Dodaj do bibliografii” jest dostępny obok każdej pracy w bibliografii. Użyj go – a my automatycznie utworzymy odniesienie bibliograficzne do wybranej pracy w stylu cytowania, którego potrzebujesz: APA, MLA, Harvard, Chicago, Vancouver itp.
Możesz również pobrać pełny tekst publikacji naukowej w formacie „.pdf” i przeczytać adnotację do pracy online, jeśli odpowiednie parametry są dostępne w metadanych.
Artykuły w czasopismach na temat "Photography of interiors – Exhibitions"
1
Панченко, Ирина Александровна. "Moscow in photographs of the 1860s – erly 1900s from the collection of the Russian Museum". Искусство Евразии, nr 2(17) (27.06.2020): 220–35. http://dx.doi.org/10.25712/astu.2518-7767.2020.02.014.
Pełny tekst źródłaStreszczenie:
В собрании Русского музея хранится уникальный изобразительный ряд, разносторонне демонстрирующий фотографический образ Москвы периода 1860-х – начала 1900-х гг. Его творцами стали многие знаменитые фотоателье и фотографы. Их интерес к запечатлению облика древней столицы был чрезвычайно широк: видовые фотографии и фиксация фрагментов зданий и интерьеров, статичная архитектурная съемка и динамичные сцены повседневной городской жизни, большеформатные «августейшие подношения» и демократичные открытые письма. Сфотографированные нередко с разных видовых точек, в разные годы, эти исторические кадры предоставляют возможность современному зрителю увидеть, а исследователю изучить, былое местоположение, прежние архитектурные формы и прошлое предназначение сооружений. На многочисленных снимках из собрания музея запечатлены в различных техниках и форматах не только исчезнувшие навсегда московские виды и памятники архитектуры, но и сохранившиеся знаковые достопримечательности, а также воссозданные относительно недавно знаменитые исторические объекты. Особый интерес представляют панорамные изображения: отдельные снимки, самостоятельные серии, единственные в своем роде фотоальбомы и уникальная многокадровая фотопанорама Москвы, снятая в 1867 г. с четырех колоколен строившегося храма Христа Спасителя. Впервые фотографии старинного города из собрания Русского музея были экспонированы в 2018 г. на второй выставке из цикла фотографической ретроспективы музея «Путешествия по Российской империи». The collection of the Russian Museum contains a unique pictorial series, which variously demonstrates the photographic image of Moscow from the period of 1860s – early 1900s. Many famous photographic companies and renowned photographers became its creators, among them: “Scherer, Nabholz & Co.”, “Russian Photography in Moscow”, A. P. Reinbot, I. F. Barshchevsky, I. N. Alexandrov and many others. Their interest in capturing the appearance of the ancient capital was extremely wide: photographs of views and fixing fragments of buildings and interiors, static architectural photography and dynamic scenes of everyday city life, large-format “August offerings” and democratic open letters (postcards). Photographed often from different viewpoints, in different years, these historical shots provide an opportunity for the modern viewer to see, and to researcher to study, the former location, old architectural forms and past purpose of the buildings. At the same time, many images of pre-revolutionary Moscow are exclusively architectural and interior photofixations. Only a small part of the works includes scenes of urban life. Numerous photographs from the museum’s collection depict in various phototechniques and formats not only the Moscow views and architectural monuments that have disappeared forever, but also preserved iconic sights, as well as demolished but recreated relatively recently famous historical sites: the Cathedral of Christ the Savior, the Resurrection Gate and the Iversky Chapel. An important place in the museum’s collection is occupied by photographs of the historical center of Moscow: buildings and monuments of the ancient Kremlin and Red Square, surrounded by picturesque architectural ensembles. Of particular interest are panoramic images: individual photographs, independent photographic series, one-of-a-kind photo albums. Certainly, an important place in this row belongs to the unique multi-frame photo panorama of Moscow, taken in 1867 from the bell towers and gallery of the Cathedral of Christ the Savior under construction by the masters of the famous Moscow-based photographic company “Scherer, Nabholz & Co.”. The ability to see the transformed and disappeared places of the city is also demonstrated by numerous open letters of views issued by publishers both as independent copies and by thematic series, both in monochrome and in color. Moreover, it is precisely the plots of open letters, in contrast to photographs, that are «animated» and filled with everyday city bustle. For the first time, materials (photographs, photo albums, postcards, reproductions) depicting the views of Moscow from the collection of the Russian Museum were exhibited in 2018 at the second exhibition from the series of a photographic retrospective of the museum “Traveling around Russian Empire”.
2
Dezhurko, Artem. "Forgotten Furniture Designers of the Khrushchev “Thaw” Era". Scientific and analytical journal Burganov House. The space of culture 16, nr 1 (10.03.2020): 114–43. http://dx.doi.org/10.36340/2071-6818-2020-16-1-114-143.
Pełny tekst źródłaStreszczenie:
Summary: Few names could be found in the research literature on the Soviet furniture design of the 1950–60s. Neither they are present in the most important historical sources on the subject – the catalogues of all-Union furniture exhibitions, where, as a rule, the mention is made of design organizations that presented certain pieces of furniture to the exhibition, and not the designers themselves. The article offers a method of processing sources that makes it possible to solve this problem. The method is based on the systematization of visual material: numerous photographs of interiors published in the late 1950s and 1960s in various specialized Soviet editions – exhibition catalogues; magazines on architecture and decorative art; advice literature on furnishing a house aimed at a wider public. The article refers to 36 sources (books and articles) with several hundred illustrations. It has been established that the visual material in the advice literature considered consists almost entirely of shots of the four largest furniture exhibitions held in Moscow at the turn of the decade – displays in the mock-up models of the apartments at the Permanent All-Union Exhibition of Construction and Architecture, the Exhibition of All-Union Competition of Furniture for Single-Family Apartments (both 1958), the exhibition “Iskusstvo – v byt” [Art to the Household] and the Second All-Union Furniture Competition (both 1961). The view of one and the same fragment of the display (sometimes even the same picture) in the 1960s publications is reproduced repeatedly. In addition, some pieces of furniture were presented at several exhibitions. Thus, in the sources the images of same piece of furniture was often published many times. Having identified the item in the photos and collected information from various sources related to these images, we could often find evidence of authorship. In this way it is possible to stablish the names of many participants in the four exhibitions mentioned above. In the article they are indicated together with the names of participants of the All-Union Furniture Exhibition of 1956 found in its catalogue (the only exhibition catalogue providing the names of designers) – a total of 82 names. Many of these designers participated not in one, but in several of exhibitions mentioned (some – in all five), many of them were awarded prizes. The analysis of sources allowed, firstly, to identify the most “successful” Soviet furniture designers of the 1950–60s, and, secondly, to attribute to them many of the projects whose authorship previously had not been established. In particular, significant arrays of images associated with the names of Yuri Sluchevsky, Elena Orlova (Bocharova), Konstantin Blomerius (Moscow), Lygija Marija Stapulionienė (Vilnius), Irma Karakis (Kiev) were collected. Of the 82 names given in the article, most are not found in historiography. Their introduction to scientific circulation makes it possible to expand the pool of search for personal archives necessary for further research of Soviet furniture design.
3
Шапченко, Юлия. "Дальневосточные зарисовки Александра Яковлева". Acta Polono-Ruthenica 2, nr XXIV (30.06.2019): 43–53. http://dx.doi.org/10.31648/apr.4460.
Pełny tekst źródłaStreszczenie:
Alexandre Yakovlev was a famous Russian painter, graphic and theatre artist, a graduate from the Imperial Academy of Arts and a member of the “World of Art”. In 1917 by the order of the Academy (material collection to decorate interiors of the Kazanian railway station) Yakovlev went to Beijing, then he traveled a lot throughout China, Mongolia and Japan. He explored Chinese and Japanese theaters, as a result he made many ethnographic sketches, portraits and photographs. He arranged the exhibition of his drawings in Shanghai (in 1919). Finding out about the revolution in Russia he emigrated to France. Since 1919 he lived in Paris. He showed multiple works of Far Eastern cycle at personal exhibitions in Paris (Barbazanges Gallery, 1920 and 1921; together with V. Shuhaev), London (Grafton Gallery, 1920) and Chicago (Art Institute, 1922). In 1922 the pub-lisher Lucien Vogel published an album Drawings and paintings of the Far East, which included 50 reproductions of Yakovlev’s Far-East cycle (the book was designed by Shuhaev). At the same time the artist produced an album on the Chinese theater with accompanying text by a Chinese author Zhu Kim-Kim. In 1931–1932 Yakovlev took part in the “Yellow Cruise” arranged by the “Citroen” company. From this expedition he brought some new series of drawings. At the end of the cruise he presented his artworks in Paris and at foreign exhibitions. This background of the artist’s life is subject to be studied better in Russia.
4
Cascella, Daniela. "Carl Michael von Hausswolff". Organised Sound 13, nr 1 (29.02.2008): 21–29. http://dx.doi.org/10.1017/s1355771808000046.
Pełny tekst źródłaStreszczenie:
AbstractFor over twenty years, Swedish artist Carl Michael von Hausswolff (born 1956 in Linköping) has been giving shape to a range of works which push the boundaries of sound experimentation and reach out into installation art, photography, video, performance and curating projects. Stemming from his experiments with tape and investigations into EVP (Electronic Voice Phenomena) throughout the 1980s and 1990s, and setting up a number of ongoing collaborations with artist Leif Elggren and with a wide range of experimental musicians in the collective, site-specific sound installation freq_out, von Hausswolff's work spans the undefined territory between sound and the visual arts – he has done so, also by organising exhibitions such as the 2nd Göteborg Biennial in 2003. His audio production, using devices such as oscillators, tone generators, microphones attached to electricity circuits, is inextricably linked to his visual and conceptual research, always addressing issues of borders, interior/exterior, liminal states and hidden fluxes of energies. At the forefront of international experimentation, his work has been featured in some of the most important exhibitions and museums in the world, and his audio pieces have been published by the most remarkable avant-garde labels.
5
Edwards, Charity. "Unsolicited Interiors". idea journal 14, nr 1 (3.07.2018): 54–65. http://dx.doi.org/10.37113/ideaj.vi0.68.
Pełny tekst źródłaStreszczenie:
Developed from a contemporary theory lecture regarding economic realities and guerilla practice, the studio Unsolicited Interiors proposes political engagement as a critical operation of interior architecture agency via the exploration of contested urban volumes, unsolicited intervention and choreographic occupation. A text and image review of this studio considers student response to political texts, design speculation, and public space disruptions through performance, photography, large-scale model-making and self-initiated actions. Discussion of a series of collaborative interventions with visiting Berlin-based collective raumlabor reinforces a positioning of design activism through acts of provocation and social inquiry as critical to spatial decisions in, and of, the city.
6
Pedro Leão Neto. "About the International Conference for the 5th issue of Sophia Journal". Sophia Journal 5, nr 1 (1.12.2020): 3–4. http://dx.doi.org/10.24840/2183-8976_2019-0005_0001_01.
Pełny tekst źródłaStreszczenie:
The International Conference on the 5th issue of Sophia Journal, which took place at FAUP, opened a new cycle of international forums, henceforth to be held annually, and taking up the theme and topics examined in Sophia for each year. Sophia Journal’s International Conference presented both a live and videoconference program organized by CEAU / FAUP, in partnership with UNIZAR and DECA / ID - U. Aveiro. The event was broadcast live online, encompassing a rich and diverse program: (i) a series of videoconferences; (ii) the roundtable launch and presentation of the 4th issue of the peer reviewed journal Sophia: “Visual Spaces of Change: Unveiling the Publicness of Urban Space through Photography and Image”; (iii) the presentations of articles of the 5th issue of Sophia Journal: “Visual Spaces of Change: Designing Interiority - shelter, shape, place, atmosphere”; (iv) the launch of the open call for papers for the 6th issue of Sophia Journal: “Visual Spaces Of Change: photographic documentation of environmental transformations”; (v) the announcement of the awards of the International Competition of Ideas: Exhibition and Mobile Projector and the Visual Spaces of Change exhibition, developed for this conference and for the spaces of FAUP, where new contemporary photography projects will be communicated, as well as a new exhibition structure that was awarded with the first prize in the International Competition of Ideas: Exhibition and Mobile Projector. The objective of these international forums is to promote the reflection and debate on the universes of Architecture, Art and Image, addressing various issues transversal to the worlds of Photography and Architecture, and exploring how the image can be a means to cross borders and shift boundaries between different disciplines. This event provided the opportunity to visit the exhibition of the Visual Spaces of Change Projects developed for this conference using FAUP’s interior and outdoor spaces, featuring novel projects in the new exhibition modular structure, which awarded the first prize to Sérgio Magalhães representing studium.creative studio. The Visual Spaces of Change research project proposes a visual communication strategy based on the development of contemporary photography projects that reflect upon different dynamics of urban change to open new horizons of public intervention in the public space. Wilfried Wang (UTSOA) O’Neil Ford Centennial Professor in Architecture at the University of Texas at Austin and Guest Editor of Issue #6 of Sophia journal: “Visual Spaces of Change: photographic documentation of environmental transformations” announced the open call for this 6th issue of Sophia journal. This issue will bring together photographers and researchers who make significant contributions to these discussions, including the material processes of creating, managing and interpreting sets of documents. We are interested in material processes where photography is explored as a significant research tool for critical and innovative views on architecture and urban transformation in their expanded fields and contextualized by larger systems: cultural, political, artistic, technical, and historical dimensions. Finally, some words about the published content in Sophia’s other sections besides the peer reviewed articles, with the former having been integrated into the journal’s structure as a way of enrichening the publication with diverse viewpoints from experts in the field and other types of readings apart from the articles from the call. [...]
7
Orlović, Ante. "Zadarska fotografija između dva svjetska rata u kontekstu afirmacije modernizma". Ars Adriatica 9 (28.02.2020): 193–202. http://dx.doi.org/10.15291/ars.2931.
Pełny tekst źródłaStreszczenie:
The aim of this paper is to offer a broader insight into the problem of defining modernism in Zadar’s photography between the two World Wars. Particular attention has been paid to the political and social situation in Zadar, its photographers, and the photo exhibitions that had a special impact on the development of Zadar’s photography. By analysing the relevant material on the exhibitions, scholarly literature and periodicals, as well as the archival and museum collections, the author has assessed the extent to which modernism has permeated and influenced Zadar’s photography at that time and the impact it exerted on post-war modernism.
8
Setyawan, Rizky Syahputra, M. Mahaputra Hidayat, Lutfia Febrianti i Moch Alif Firmansyah. "Implementation of Virtual Reality for Photography Exhibitions". JEECS (Journal of Electrical Engineering and Computer Sciences) 8, nr 1 (30.06.2023): 49–54. http://dx.doi.org/10.54732/jeecs.v8i1.6.
Pełny tekst źródłaStreszczenie:
Art exhibitions are one way to communicate a work of art while displaying creations that can be enjoyed by visitors. However, it takes a very high cost to make a good exhibition hall, and many people are too lazy to go to the exhibition if it is just to look around. In this era of technology 4.0, many new innovations have emerged in human life, one of which is virtual reality. Virtual reality is increasingly being used as an alternative to visiting a place without having to come there directly. This research aims to create an Android system using virtual reality that provides an experience to users viewing works virtually. Virtual reality prepares a representative space to display works and also does not need to incur high costs while still providing quality and complete information from exhibition speakers. This research was built using Blender and Unity. In the application design analysis, there are four main stages: (1) analysis, (2) design, (3) product development, and (4) product testing. The results of the assessment conducted by the virtual reality lecturer obtained an average result of 89%. In addition, the results of trials for students obtained an average percentage of 94% and were included in the very good category. The results of this study show that AR has indeed proven feasible to be used as a learning medium in introducing photographic works with 2D and 3D Animation, and therefore the potential to make exhibitions in VR is also used for other courses and learning. The result of this research is that an Android-based virtual reality system can simulate the exhibition of artwork.
9
Hasirci, Deniz, Zeynep Tuna Ultav i Umut Sumnu. "Transience and the modern Turkish interior". Res Mobilis 12, nr 16 (29.07.2023): 41–57. http://dx.doi.org/10.17811/rm.13.16.2023.41-57.
Pełny tekst źródłaStreszczenie:
Despite the expansion of research in modern interiors around the world and a more inclusive dialogue with regards to geography, ultimately, the field is still lacking theory and methods derived from its own specific needs rather than being adapted from architectural research, and a focus on its transient nature that is likely to lead to more impactful research and preservation results. Modern Turkish interiors research have also expanded greatly with individual, as well as projects or research groups like docomomo_tr interiors and DATUMM (Documenting and Archiving Modern Turkish Furniture) that create awareness through various forms of scholarly (documentaries, archival work) and popular (public exhibitions, popular books and magazines, newspaper pieces, and films) output. Although transience and thus a race with time is at the core of modern interiors research and several struggles are common worldwide, socio-cultural and economic reasons result in a faster pace in Turkey, creating an urgency to implement innovative methods and approaches fitting contemporary prerequisites of the field.
10
Condraticova, Liliana. "Exhibition management as part of the academic management: synthesis of an experience". Akademos, nr 4(67) (marzec 2023): 10–18. http://dx.doi.org/10.52673/18570461.22.4-67.01.
Pełny tekst źródłaStreszczenie:
The exhibitions held at the Academy of Sciences of Moldova or in partnership with AȘM between years 2019–2022, have become a marker of the activity and appreciation of researchers, teachers, museographers. This article examines the retrospective of national or international exhibitions, classified according to the content and participants in scientific and innovation exhibitions, thematic and anniversary exhibitions (dedicated to certain events or personalities), scientific book exhibitions, photography, plastic art. The pandemic marked the activity planners and numerous exhibitions were organized online. However, this did not reduce their significance. The role of exhibitions is indisputable, so the Academy of Sciences of Moldova has carried out multiple large-scale events, emphasizing the scientific, innovative and artistic achievements of the community.
Rozprawy doktorskie na temat "Photography of interiors – Exhibitions"
1
Watson, David Rowan Scott. "Precious Little: Traces of Australian Place and Belonging". University of Sydney, 2005. http://hdl.handle.net/2123/1098.
Pełny tekst źródłaStreszczenie:
Master of Visual ArtsThe Dissertation is a meditation on our relationship with this continent and its layered physical and psychological ‘landscapes’. It explores ways in which artists and writers have depicted our ‘thin’ but evolving presence here in the South, and references my own photographic work. The paper weaves together personal tales with fiction writing and cultural, settler and indigenous history. It identifies a uniquely Australian sense of 21st-century disquiet and argues for some modest aesthetic and social antidotes. It discusses in some detail the suppression of focus in photography, and suggests that the technique evokes not only memory, but a recognition of absence, which invites active participation (as the viewer attempts to ‘place’ and complete the picture). In seeking out special essences of place the paper considers the suburban poetics of painter Clarice Beckett, the rigorous focus-free oeuvre of photographer Uta Barth, and the hybrid vistas of artist/gardener Peter Hutchinson and painter Dale Frank. Interwoven are the insights of contemporary authors Gerald Murnane, W G Sebald and Paul Carter. A speculative chapter about the fluidity of landscape, the interconnectedness of land and sea, and Australia’s ‘deep’ geology fuses indigenous spirituality, oceanic imaginings of Australia, the sinuous bush-scapes of Patrick White, and the poetics of surfing. Full immersion is recommended.
2
Watson, David Rowan Scott. "Precious Little: Traces of Australian Place and Belonging". Thesis, The University of Sydney, 2004. http://hdl.handle.net/2123/1098.
Pełny tekst źródłaStreszczenie:
The Dissertation is a meditation on our relationship with this continent and its layered physical and psychological ‘landscapes’. It explores ways in which artists and writers have depicted our ‘thin’ but evolving presence here in the South, and references my own photographic work. The paper weaves together personal tales with fiction writing and cultural, settler and indigenous history. It identifies a uniquely Australian sense of 21st-century disquiet and argues for some modest aesthetic and social antidotes. It discusses in some detail the suppression of focus in photography, and suggests that the technique evokes not only memory, but a recognition of absence, which invites active participation (as the viewer attempts to ‘place’ and complete the picture). In seeking out special essences of place the paper considers the suburban poetics of painter Clarice Beckett, the rigorous focus-free oeuvre of photographer Uta Barth, and the hybrid vistas of artist/gardener Peter Hutchinson and painter Dale Frank. Interwoven are the insights of contemporary authors Gerald Murnane, W G Sebald and Paul Carter. A speculative chapter about the fluidity of landscape, the interconnectedness of land and sea, and Australia’s ‘deep’ geology fuses indigenous spirituality, oceanic imaginings of Australia, the sinuous bush-scapes of Patrick White, and the poetics of surfing. Full immersion is recommended.
3
D'Onghia, Danielle M. "Windows to Reverie: A Photography Exhibition of Works by Danielle D’Onghia". Ohio Dominican University Honors Theses / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=oduhonors1368528376.
Pełny tekst źródła
4
Lee, Stephanie Maria. ""The Will to Create" Exhibition Photographic Documentation of, and Narrative on the Body of Work in Sculpture, Painting and Mandala". Fogler Library, University of Maine, 2008. http://www.library.umaine.edu/theses/pdf/LeeSM2008.pdf.
Pełny tekst źródła
5
Asquith, Wendy. "Haiti and art : curating the nation for international exhibitions". Thesis, University of Liverpool, 2015. http://livrepository.liverpool.ac.uk/2027099/.
Pełny tekst źródłaStreszczenie:
This dissertation presents a fresh approach to the study of Haitian art through research conducted in the emerging interdisciplinary field of exhibition history. In a deliberate attempt to move away from existing notions of Haitian art as a formal or aesthetic style of art practice associated with primitivism – based on mid-twentieth-century art historical narratives – I have opted to explore the display of works by Haitian artists outside of conventional museum and gallery settings. Taking a broader cultural studies approach centred on three case studies, I examine the exhibition of artworks within the transitory sites of national cultural display at two world’s fairs and an art biennial: the Haitian pavilion at the World’s Columbian Fair of 1893; Haiti’s “Little World’s Fair” officially titled Exposition Internationale du Bicentenaire de Port-au-Prince of 1949-50; and the Haitian pavilion at the Venice Biennale in 2011. These exhibitions overlap in the sense that they all claimed to present an official representation of the Haitian nation-state and therefore an authoritative vision of Haitian culture. However, when we peer behind this veneer of official national rhetoric it becomes clear that at each of these sites there were numerous images of Haitian nationhood, as well as notions of a national cultural essence referred to throughout as Haitian-ness, being produced by various agents. Across the course of this study these include: Haitian and foreign state representatives, curators, artists, academics and cultural professionals drawn from Haiti, Haiti’s diasporas and elsewhere, as well as NGOs and other international collaborators. In each case those curating Haiti’s national displays at these events balanced assertions of national sovereignty against international marketability: delicate negotiations that, I argue, can be discerned through analysis of the forms, aesthetics, subjects and contextualisation of the artworks displayed. Across the course of this dissertation therefore I chart a shift in the substance of these Haitian cultural displays, and the artworks presented within them, from a fin de siècle expression of Francophile neoclassicism, through an uneasy post-war coupling of folkloric exoticism and western modernity, to a fragmented picture of contemporary Haitian-ness articulated with reference to poverty and cultural otherness as well as cosmopolitanism. Through an examination of these case studies I have sought to explore how the visual arts intersected with expressions of Haiti’s postcolonial nationhood at exhibitions staged within events scattered across the Atlantic World. Further, by charting shifts in the production and projection of Haitian nationhood and art across these three sites I have attempted to grasp a fuller picture of how entangled ideas of nation and culture have had a bearing on exhibition histories, international institutional engagement with and the marketing and perception of the work of Haitian artists through the long twentieth century.
6
Levitsky, Maria. "Invisible Cities: Photographic Fictions of Architecture". ScholarWorks@UNO, 2012. http://scholarworks.uno.edu/td/1457.
Pełny tekst źródłaStreszczenie:
The artist's process in which she examines the built environment through the medium of black and white photography. By tracing the trajectory of her awareness of architecture from her early career as a dancer, to the making of photographic images, the artist illuminates the process of deconstructing architectural and pictorial space into fragmented yet illusionistically convincing photographic montages. Influenced by the urban localities in which she dwells, she tells the story of being captivated by the post-industrial landscape of Williamsburg, Brookyn, NY, followed by landing in New Orleans and her fascination with post-Katrina architecture. Grounded in the analog techniques of traditional black and white photography, Levitsky describes the various means by which she alters her images to create visionary reconstructions of buildings in transitional states.
7
Boyd, Ailsa Margaret Susan. "A home of their own : representations of women in interiors in the art, design and literature of the late nineteenth century". Thesis, University of Glasgow, 2002. http://theses.gla.ac.uk/4407/.
Pełny tekst źródłaStreszczenie:
This thesis engages with the contribution made by literary and visual representations to debates about woman's role in Britain and America between 1860 and 1917. During, that is, a period of transition from the relative securities of the early Victorian period until the radical social shifts propelled by the First World War. I introduce design reform debates in painting and interior design, and examine how these were approached by George Eliot, Henry James and Edith Wharton, both in the homes they actually lived in, and those they created in their fictions, particularly for their female characters. Issues of the aesthetic and the moral, and the shifting relationships between them, underpin responses to art and design of the period, and are reflected generally in the literary and visual arts. The representation of women in domestic space, in actual and literary interiors, necessarily has ideological implications regarding the proper place of women within society. Thus, directly and obliquely, questions were repeatedly being asked about what constituted a desirable and fulfilling life for women in this society, and how such a life was to be achieved. To support my contention that this is a wide debate, I am looking at representational paintings of women in interiors, and advice about decoration in manuals of household taste, to augment the primary focus of the thesis on various fictional portraits of ladies. In the Introduction I discuss some recent examinations of women's space and place in Victorian society in art historical, literary and cultural studies. I explain the ideology of separate spheres and how it was interpreted in the plan and decoration of the home, underpinning the codification of interior decoration. I consider also how theorisations of 'the gaze' have been used to analyse representations of women and to explore issues of female empowerment. In Chapter One I examine the history of the design reform movement, Aestheticism, the application of the separate spheres in practice and the influence of manuals of household taste on how the home was actually decorated. Women's taste was a contested issue and the conceptual conflation of the women's body with the house formed the background to Aesthetic paintings of women. Some women decorators, often connected to radical political movements, used their professionalism to make the home a site of power, countering the seeming entrapment of women within the interior. In Chapter Two I examine George Eliot's unconventional home life, particularly the decoration of The Priory. I discuss how she utilised interiors and related themes of seeing and commodity fetishism in the explication of character in The Mill on the Floss, Middlemarch and Daniel Deronda. Sympathy with the wider world enables Eliot's female characters to transcend the destruction of subjectivity threatened by constriction within an unhappy home. In Chapter Three I examine how Henry James dealt with the complicated conceptual relationship of Europe and America in The Europeans, using themes of the search for a home and the theatricality of self-presentation. I explain his notion of the House of Fiction, which was expanded by Edith Wharton. In The Portrait of a Lady, taste is used as a moral indicator in his discussion of the 'envelope of circumstance', with Aestheticism as the background to its use. James theorises the status of women as objects within interiors and what this means for Isabe1' s developing consciousness, as she searches for a husband and home. James uses the ambiguities of 'seeing' to explore how good taste is reached at expense of human relationships. In Chapter Four I discuss Henry James's own search for a home in his later years, and the significance of Lamb House. I discuss his friendship with Edith Wharton and compare their taste in decoration and how this related to moral themes in their novels. In The Spoils of Poynton good or bad taste seems to divide people morally. However, the rigidity of these divisions is questioned, and Fleda and Mrs Gereth discover unhappiness as an authentication of experience, in a small home without men. In Chapter Five I discuss Edith Wharton's development as a writer, the homes she grew up in and how this relates to the decoration and creation of her own homes. Her highly theorised approach to interior decoration is demonstrated by The Decoration of Houses, which was put into practice in her own homes, finding its most perfect expression in The Mount. Wharton's experiences of creating a home for herself gave her the strength to write out of a society disinclined to attribute serious artistic effort to women, and her writings re-enacted the problems she encountered living in this society. In Chapter Six I examine Wharton's The Houseo! Mirth, Ethan Frome and Summer, employing Wharton's aesthetic theories as a key to interpretation of her fictional works. Lily Bart is seen within different interiors as she descends through society, and gender issues are illuminated by a discussion of how the tableau vivant at the centre-point of the book brings together themes of theatricality and the gaze. Lily's self-fashioning is fraught with misreadings by her society, disastrous for her search for a happy and beautiful home. The poorer setting of the two novellas demonstrates that Wharton applied her theories across social strata. For Wharton, the achievement of a happy home, morally decorated, could be impossible for women in American Victorian society. In the Conclusion I look at paintings by progressive artists which enacted the instabilities of cultural change in their depiction of women in interiors. The Great War destroyed the bourgeois interior that the fictional women I have discussed found it so difficult to remain within. The rejection of the constrictions of separate spheres became part of a new feminist project, articulated by Virginia Woolf and Catherine Carswell. Women no longer felt the need to be constrained by the gilded cage, and looked for possibilities lying outside of the drawing room.
8
Negrão, Wilson Renato. "Rodrigo Braga: um estudo de arquivos de processos e montagem de exposição". Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/20784.
Pełny tekst źródłaStreszczenie:
Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-01-23T11:29:38Z
No. of bitstreams: 1
Wilson Renato Negrão.pdf: 4261122 bytes, checksum: 75b15a4600d4114549a298d19171a27e (MD5)Made available in DSpace on 2018-01-23T11:29:39Z (GMT). No. of bitstreams: 1 Wilson Renato Negrão.pdf: 4261122 bytes, checksum: 75b15a4600d4114549a298d19171a27e (MD5) Previous issue date: 2017-12-05
Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq
The objective of this research is to develop a study of the archives of semiotic-based processes in contemporary art and analyzing the creative process of Rodrigo Braga to investigate the ways of art through this and to understand the artist that transits be-tween different languages. The dissertation will be developed by surveying the evolution of Rodrigo Braga’s career and his emblematic works in the last decades. Covering his sketches, annotations and drawings, even documents in creation process, and by the end, following-up in exhibitions, where the artist will be observed closely, while finishing a work, before opening for public exposure. The result of these analyzes will lead the research meeting some procedural proce-dures that will help to understand the work of Rodrigo Braga. As a new artist, with a career that is still in progress and since his work is in the process of development, the research tends to generate discoveries that are still unpublished, including the artist himself. The studies will focus on his carried out works during the last decades and on the projects which are developed during the research. Through these documents of production process, the trajectories of Rodrigo Braga will be mapped into Brazilian and international artistic context and, thus, to present how much are his works relate to the performance, photography, video, installation and the evolution of his works based on creation process
O objetivo desta pesquisa é buscar desenvolver um estudo de arquivos de processos de base semiótica na arte contemporânea, analisando o processo criativo de Rodrigo Braga e através disto investigar os caminhos da arte para entender um artista que transita entre diferentes linguagens. A dissertação será desenvolvida, através de um levantamento da evolução da carreira de Rodrigo Braga e de trabalhos emblemáticos do artista nas últimas décadas. Serão estudados, na sequência, os esboços, anotações e desenhos, ou seja, documentos de seu processo de criação e, por fim, o acompanhamento em montagens de exposições, onde o artista será observado de perto, enquanto finaliza um trabalho, antes de abrir para exposição pública. O resultado dessas análises levará a pesquisa ao conhecimento de alguns procedimentos processuais que ajudará a entender a obra de Rodrigo Braga. Por se tratar de um artista novo, com a carreira ainda em evolução, onde a sua obra está em processo de desenvolvimento, a pesquisa tende a gerar descobertas que ainda são inéditas, inclusive ao artista. Os estudos serão elaborados focando em trabalhos realizados nas últimas décadas e também nos projetos desenvolvidos no decorrer da pesquisa. Através desses documentos de processo de produção serão mapeados os percursos de Rodrigo Braga no contexto artístico brasileiro e internacional e, assim, apresentar como se dá a relação de suas obras com a performance, fotografia, vídeo, instalação e a evolução de seus trabalhos pautada no processo de criação
9
Lenzini, Vanessa Sobrino. "Noções de moderno no Foto-Cine Clube Bandeirante : fotografia em São Paulo : (1948-1951)". [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/282034.
Pełny tekst źródłaStreszczenie:
Orientador: Iara Lis Franco SchiavinattoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
Made available in DSpace on 2018-08-10T11:05:26Z (GMT). No. of bitstreams: 1 Lenzini_VanessaSobrino_M.pdf: 21020362 bytes, checksum: 09ef2c71241d6ab90f34e88ea198be1c (MD5) Previous issue date: 2008
Resumo: O presente estudo apresenta uma coletânea de artigos sobre fotografia, publicados entre 1948-1951 no Boletim do Foto-Cine Clube Bandeirante (FCCB), fundado em 1939, em São Paulo. Esses artigos trazem um debate sobre a fotografia enquanto representação artística, inspirada nos parâmetros do pictorialismo, que divulgavam um modo de atualização da fotografia enquanto arte. Acompanhando a coletânea, este estudo pretendeu matizar as idéias dos artigos, levantando as noções que embasaram a produção fotográfica do FCCB a se projetar como 'moderna' no circuito artístico e cultural da cidade de São Paulo. Procurou-se identificar as disputas e as intenções que uma produção possui ao se divulgar como parte 40 moderno. Em sua maioria, os artigos que compõe a coletânea são traduzidos de revistas oriundas de associações fotográficas internacionais, tomando-se referência para a discussão desta prática no Clube
Abstract: This study intends to present collected articles about photography published between 1948-1951 on the Foto-Cine Clube Bandeirante (FCCB) Bulletin, founded in 1939 in São Paulo. This articles bring up a debate about photography as al1 ,artistic representation inspired on pictorialistic parameters, which spread a way to ,update photography as an art formo With the collected articles, this study tried to balance the articles ideas, raising the notions that supported the concept of FCCB's photographic production as modern in the artistic and cultural circuit of São Paulo. This study intended to identify the disputes and intentions inhen(?t to ~ production which spreads itself as part of the moderno Most of the collected articles ~~e translated ITom international photographic associations magazines and became reference for photographic discussions at the Club and stated its cosmopolitan character
Mestrado
Politica, Memoria e Cidade
Mestre em História
10
Fernandes, Maria Amélia Bizarro Leitão. "A exposição de arte portuguesa em Londres 1955-1956 "a personalidade artística do país"". Master's thesis, Instituições portuguesas -- UL-Universidade de Lisboa -- -Faculdade de Letras, 2001. http://dited.bn.pt:80/29346.
Pełny tekst źródłaKsiążki na temat "Photography of interiors – Exhibitions"
1
Lambri, Luisa. Luisa Lambri: Interiors. London: Ivorypress, 2011.
Znajdź pełny tekst źródła
2
North Carolina Museum of Art., red. Interiors. Raleigh, N.C: North Carolina Museum of Art, 2000.
Znajdź pełny tekst źródła
3
1953-, Wagner Catherine, i Los Angeles County Museum of Art., red. Home and other stories. Albuquerque: Published for the Los Angeles County Museum of Art by the University of New Mexico Press, 1993.
Znajdź pełny tekst źródła
4
Gullotta, Daniela. Daniela Gullotta: Interiors. London: Marlborough Fine Art (London), 2003.
Znajdź pełny tekst źródła
5
Actual unretouched photographs. Rochester, New York: Richard Margolis, 2014.
Znajdź pełny tekst źródła
6
Gallery, Tethys, red. Carlo Gianferro: Gipsy interiors : contemporary Roma portraits. Roma: Postcart, 2009.
Znajdź pełny tekst źródła
7
Díaz, Polibio. Polibio Díaz: Interiores. Santo Domingo, D.R: Secretaría de Estado de Cultura, 2006.
Znajdź pełny tekst źródła
8
Quetsch, Armand. Nickla. Luxembourg: Centre national de l'audiovisuel, 2008.
Znajdź pełny tekst źródła
9
Höfer, Candida. Candida Höfer, Photographie: Kunstverein Wolfsburg, 13.9- 15.11 1998, Kunstverein Recklinghausen, 28.11.1998-31.1.1999, Oldenburger Kunstverein 25.4-13.6.1999. München: Schirmer/Mosel, 1998.
Znajdź pełny tekst źródła
10
1944-, Höfer Candida, red. Candida Höfer, Photographie: Hagener Kunstverein Karl-Ernst-Osthaus-Bund, Leonhardi-Museum Dresden in Kooperation mit dem Kupferstichkabinett Dresden, Brandenburgische Kunstsammlungen Cottbus, Fotomuseum im Münchner Stadtmuseum. Köln: Druck- & Verlagshaus Wienand, 1992.
Znajdź pełny tekst źródłaCzęści książek na temat "Photography of interiors – Exhibitions"
1
Moore, Oliver. "Interiors of the imagination". W Photography in China, 119–48. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003086345-7.
Pełny tekst źródła
2
Boulet, Louis. "The Dominance of Monographic Exhibitions in French Photographic Institutions: Data, Criticisms and Impact on Artists’ Visibility". W Contemporary Photography as Collaboration, 123–42. Cham: Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-41444-2_7.
Pełny tekst źródła
3
Katriel, Tamar. "Showing and Telling: Photography Exhibitions in Israeli Discourses of Dissent". W Curating Difficult Knowledge, 109–27. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230319554_7.
Pełny tekst źródła
4
Uslenghi, Alejandra. "Modern Vistas: Latin American Photography at the 1876 Philadelphia Centennial Exposition". W Latin America at Fin-de-Siècle Universal Exhibitions, 25–89. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/9781137553966_2.
Pełny tekst źródła
5
Kontou, Tatiana, Victoria Mills i Kate Nichols. "Centennial Photographic Company, Interior View of Elkington & Co.'s Exhibit, Main Building, Philadelphia Centennial Exhibition, 1876, Silver Albumen Print; 21 × 26 Cm". W Victorian Material Culture, 179. London: Routledge, 2022. http://dx.doi.org/10.4324/9781315400266-59.
Pełny tekst źródła
6
Brevik-Zender, Heidi. "Expanding Interiors : Architectural Photographs of the Countess de Castiglione". W The Home, Nations and Empires, and Ephemeral Exhibition Spaces. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463720809_ch03.
Pełny tekst źródłaStreszczenie:
Over the last five decades of the nineteenth century, Italian-born Virginia Verasis, the Countess de Castiglione (1837–1899), had French photographer Pierre-Louis Pierson take more than 400 studio photographs of her in elaborately costumed and staged tableaus, mises en scène that the Countess had a strong hand in designing. This chapter examines the Countess’s photographs through the lenses of architecture, gender, and interior design. Considering the term “architect” metaphorically and literally, and drawing on trends in interior decoration from the period as well as on feminist theory related to space, this study focuses on the Countess’s taste for aesthetic excess in costuming and furnishings, and how the interiors that she designed using these tools upended traditional conceptions limiting women’s presence in space.
7
Golden, Catherine J. "Realism, Victorian Material Culture, and the Enduring Caricature Tradition". W Serials to Graphic Novels. University Press of Florida, 2017. http://dx.doi.org/10.5744/florida/9780813062297.003.0004.
Pełny tekst źródłaStreszczenie:
By the mid-nineteenth century, the aesthetics of the Victorian illustrated book were changing. The public desired artistic book illustration that could simulate the lifelike quality of photography. “Realism, Victorian Material Culture, and the Enduring Caricature Tradition” frames the realistic school of illustration, commonly referred to as the Sixties, with the Great Exhibition of 1851; this first ever world’s fair of culture and industry stimulated production of beautiful objects, including books with decorative bindings, culminating in a richly illustrated exhibition catalogue in a representational style (also referred to as realism or naturalism) in vogue from the 1850s–1870s. Foremost, this chapter examines how the creative vision of the caricaturists underpins the achievement of some Sixties artists, notably Fred Barnard and J. (James) Mahoney, who fleshed out inventive caricature designs to suit popular taste for the Household Edition of Dickens’s works. We witness this same kind of revision of the caricature tradition in Alice in Wonderland (1865). To appeal to middle-class consumers of the 1860s, John Tenniel refashioned Carroll’s caricature-style illustrations by adding domestic interiors and landscape details, realistically recreating Carroll’s social caricatures.
8
"Problem interiors". W Professional Interior Photography, 115–35. Routledge, 2002. http://dx.doi.org/10.4324/9780080492179-13.
Pełny tekst źródła
9
"Interiors with mixed lighting". W Professional Interior Photography, 106–14. Routledge, 2002. http://dx.doi.org/10.4324/9780080492179-12.
Pełny tekst źródła
10
"The artistic interpretation of interiors". W Professional Interior Photography, 11–23. Routledge, 2002. http://dx.doi.org/10.4324/9780080492179-6.
Pełny tekst źródłaStreszczenia konferencji na temat "Photography of interiors – Exhibitions"
1
Bortoluzo Mamone, Felipe, i Letícia Brasil Freitas. "A Brief Survey on the Characteristics of Recent Virtual Exhibitions". W LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.127.
Pełny tekst źródłaStreszczenie:
The Covid-19 pandemic and the social restriction measures that ensued have had a decisive impact on museum activities over the past two years. Research by the International Council of Museums (ICOM) indicates that about 95% of worldwide museums were closed between April and May 2020, a figure that falls to 27% in the same period in 2021. Given this scenario, there has been a notable increase in digital communications and activities of these institutions, either by making collections and exhibitions available online, managing social media, holding live events and teaching programs or by producing newsletters and podcasts. While such surveys are essential, it is also necessary to complement them with qualitative research into the ways in which these activities are being carried out. This paper will examine how a specific kind of digital activity is being developed by the museum sector, namely, the virtual exhibitions. Characterized mainly by the three-dimensionality and the immersion of the interactor, these virtual exhibition spaces carry with them both the complexity that constitutes the idea of a virtual museum and the structural deficiencies that affect cultural institutions and, in particular, their sectors of Information and Communication Technology (ICTs). Thus, two criteria were chosen to characterize these exhibits, namely, the technologies commonly used in their conception and the relationship they establish or do not establish with a tangible space. To this end, recent cases of spaces built through the use of 360º photography and 3D modeling have been selected and analyzed as to highlight the distinctive features of these technologies and how they instantiate different relationships between elements of the digital and the tangible. This analysis bring into consideration specific elements of these exhibitions, such as their interfaces and the modes of displacement and visualization they allow, the quality of the reproduction of the artworks and the possibility of accessing complementary information and media about them, the multiplicity of the points of view, their compatibility with certain devices, among others. Finally, we will reflect on the way in which these virtual exhibitions replicate, augment or dismiss physical spaces for their conception. Instead of the usual opposition between virtual and actual, such spaces express the possibility of complementation between elements restricted to the tangible or the digital - complementation, needless to say, that does not always take place. Thus, virtual exhibitions are important vectors to reflect on the advantages and difficulties that digital technologies pose for the museum sector.
2
Laurentiz, Silvia. "Realities Research Group: 10 years of studies in art-technology". W LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.130.
Pełny tekst źródłaStreszczenie:
The Research Group Realidades - from tangible realities to ontological realities - was created in 2010 and is based at the School of Communications and Arts, University of São Paulo, accredited by the Institution and CNPq, Brazil. It already has a huge production, from artistic works, texts, interviews, events organization, and other technical productions, which can be found at http://www2.eca.usp.br/realidades. In its initial research, the Realidades Group investigated how to coherently treat certain terms and categories while maintaining a dialogue between different areas of knowledge, in addition to pointing out counterparts from the breaking of certain conceptual coherences promoted by this dialogue. The object of study of the first projects was precisely to know and expand terms such as simulation, virtuality, hybridization, as well as to propose new devices, interfaces and uses for the technologies. In the current proposal, the group inaugurates new lines of research that will address contemporary phenomena in the field of digital media, critically observing the experience in the intersection between arts, sciences and communications in locative media, audiovisual performances, reality augmented, 360º video and photography, artificial intelligence, three-dimensional modeling, and digital prototyping, among others. It also considers broader issues that arise in this context in relation to the ways of weakening the consensus around the alternatives of representing reality, which happen because of the informational explosion, and the mapping of patterns, in addition to observing political aspects of these discussions. To fulfill these objectives, which significantly expand the initial problems, we redesigned our lines of research in 2020, which are now defined as: 1. Codified Thoughts; 2. Audiovisual Processes; and 3. Poetic-political criticism. The lines of research present specific goals, objectives, and results, which add up without failing to meet the general objectives of the group. It is important to say that the group has a diversified production, but it is evident that the artistic works stand out. In our artworks, the intrinsic relationship between theory and creative practices is essential. We can see the result of these practices and creative processes in the works we carry out and which have already been shown in national and international exhibitions. All information about each one can be found on the group's website. They have started with the Enigmas Series, which was developed between 2012 and 2017.This series has 3 productions and some versions. We also have the series “When the Stars Touch”, with two works, one created in 2019 and the other in 2020. In 2017 we produced the installation Dynamic Crossing, which participated in ISEA 2017 - 23rd International Symposium on Electronic Art, in Manizales, Colombia. The group's most recent artwork is "InMemoriam". It is still online and can be accessed on its website.
3
Lima, Cláudia, Susana Barreto i Rodrigo Carvalho. "Interpreting Francis Bacon's Work through Contemporary Digital Media: Pedagogical Practices in University Contexts". W 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001420.
Pełny tekst źródłaStreszczenie:
This paper describes two pedagogical practices based on Francis Bacon’s graphic Works. One in a curricular context, held at Escola Superior Artística do Porto, and the other in an extracurricular context held at Universidade Lusófona do Porto (both in Portugal), which aimed to stimulate students towards a critical analysis and interpretation of Francis Bacon's work and its recreation using contemporary digital media. This initiative was integrated in the Graphic Works of Francis Bacon exhibition at the World of Wine Museum in Vila Nova de Gaia and was the result of a collaboration between this Museum, the Academy and the Renschdael Art Foundation, a collaboration that aimed to give voice and life to a debate emerging from the exhibition of the work of art and its multimedia translation. Hence, it was intended to complement the exhibition of the artist's works with a multimedia language, through multiple interpretations and digital animations of the Painter's work made by the students and targeted at digital natives as one stream of the exhibition was to target local primary and secondary schools.The participants involved in this project came from various BAs, including Communication Design, Fine Arts and Intermediate, Visual Arts - Photography, Cinema and Audiovisual, Audiovisual Communication and Multimedia, Video Games and Multimedia Applications. This allowed to bring together multidisciplinary groups of students with different profiles and backgrounds, contributing to a myriad of results both in visual terms and technological resources, which included approaches such as: the use of techniques close to rotoscoping in which students created drawings frame by frame over the original images; the exploration of cut-out animation techniques; the recreation of Francis Bacon's work in 3D; explorations of image manipulation, editing, and video effects.In an academic context, these practices resulted in an in-depth knowledge of the work of an artist from a generation different from that of the students; an opportunity for them to work with a real client, applying in a project the knowledge obtained in various curricular units of the BAs they are attending; and the possibility of seeing their work integrated in an international exhibition. As regards to the Graphic Works of Francis Bacon exhibition, this academic project brought a new dynamic to the space combining graphic works by the Painter with multiple interpretations of a generation to whom digital media are omnipresent.In this paper, the pedagogical practices adopted in both Universities are described, projects by students are analyzed as well as the contribution that these projects brought to the exhibition through information gathered from visitors, from articles published on the event and through an interview conducted with the exhibition curator.The exhibition, according to the commissioner, Charlotte Crapts, had an "impressive" turnover bearing in mind that the country was going through Covid restrictions. In the commissioner’s view, the multimedia interventions created a bridge with the educational sector and following this, the exhibition interacted with a great number of youngsters. This was a pioneer exercise in the exhibition space that will be followed in future exhibitions.
Raporty organizacyjne na temat "Photography of interiors – Exhibitions"
1
Sequeira, Dora María, Ileana Alvarado V. i Félix Angel. Young Costa Rican Artists: Nine Proposals. Inter-American Development Bank, sierpień 2007. http://dx.doi.org/10.18235/0006438.
Pełny tekst źródłaStreszczenie:
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).
2
Moreno Mejía, Luis Alberto, i Iván Duque Márquez. Contemporary Uruguayan Artists: An Uruguayan Presence in the About Change Exhibition. Inter-American Development Bank, luty 2012. http://dx.doi.org/10.18235/0006209.
Pełny tekst źródłaStreszczenie:
Contemporary Uruguayan Artists is part of About Change: Art from Latin America and the Caribbean, a project of the World Bank Art Program in cooperation with the Cultural Center of the Inter-American Development Bank and AMA | Art Museum of the Americas at the Organization of American States. The initiative comprises a series of exhibitions of art from Latin America and the Caribbean being offered in various venues in Washington during 2011-12. The exhibition is presented In honor of Uruguay and the City of Montevideo, site of the 53rd Annual Meeting of the Board of Governors of the IDB. The works selected for the exhibition offer a panorama of contemporary Uruguayan creativity. These pieces revisit history, explore memory, examine changes that have transformed culture and the environment, and rethink traditions. It includes painting, print, sculpture, mixed media, and photography, by 13 artists: Santiago Aldabalde, Ana Campanella, Muriel Cardoso, Gerardo Carella, Federico Meneses, Ernesto Rizzo, Jacqueline Lacasa, Gabriel Lema, Daniel Machado, Cecilia Mattos, Diego Velazco, Santiago Velazco, and Diego Villalba.