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Статті в журналах з теми "Programa de Artistas"
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Marcondes, Guilherme. "DESLOCAMENTO, FORMAÇÃO E LEGITIMAÇÃO: uma análise de programas de residência artística no Brasil." Caderno CRH 32, no. 87 (December 31, 2019): 561. http://dx.doi.org/10.9771/ccrh.v32i87.30772.
Повний текст джерелаАнотація:
<p>No universo da arte contemporânea brasileira, instituições públicas ou privadas divulgam anualmente editais voltados para jovens artistas, cujo objetivo é fomentar o seu deslocamento para espaços diferenciados de interação social e trocas, a fim de incentivar sua produção. Nas residências, o artista complementa e aprimora sua formação através de novas experiências com o entorno, desenvolvendo seu trabalho longe do ambiente de costume. Neste artigo, objetiva-se compreender como tais programas têm alterado os processos de formação e legitimação de artistas no Brasil. Para isso, são analisados os editais de seleção de três programas de residência artística: o Programa Bolsa Pampulha, promovido, desde 2003, pela Prefeitura Municipal de Belo Horizonte, no Museu de Arte da Pampulha; a Casa B-Residência Artística, lançada em 2016 pelo Museu do Bispo Rosário Arte Contemporânea (MBRAC), no Rio de Janeiro, com incentivo da FUNARTE; e a Residência Artística Red Bull Station, iniciativa financiada pela empresa austríaca Red Bull em São Paulo, desde 2013.</p><p> </p><p>DISPLACEMENT, TRAINING AND LEGITIMATION: an analysis of artistic residency programs in Brazil</p><p>In the universe of Brazilian contemporary art, public or private institutions annually publish notices aimed at young artists, whose purpose is to encourage<br />their displacement to different spaces of social interaction and exchanges, in order to encourage their production. In the residences, the artist complements and improves his formation through new experiences with the surroundings, developing his work away from the usual environment. This article aims to understand how such programs have altered the processes of formation and legitimation of artists in Brazil. For this, the selection notices for three artistic residency programs are analyzed: the Programa Bolsa Pampulha, promoted since 2003 by the Belo Horizonte City Hall at the Museu de Arte da Pampulha; the Casa B-Residência Artística, launched in 2016 by the Museu do Bispo Rosário Arte Contemporânea (MBRAC), in Rio de Janeiro, with the encouragement of FUNARTE; and the Residência Artística Red Bull Station, an initiative funded by the Austrian company Red Bull in São Paulo, since 2013.</p><p>Keywords: Contemporary art. Young artists. Artistic residences. Displacement. Legitimation. Career.</p><p> </p><p>DÉPLACEMENT, FORMATION ET LÉGITIMATION: une analyse des programmes de résidence artistique au Brésil</p><p>Dans l’univers de l’art contemporain brésilien, les institutions publiques ou privées publient annuellement des avis destinés aux jeunes artistes, dont le but est d’encourager leur déplacement vers différents espaces d’interaction et d’échanges sociaux, afin d’encourager leur production. Dans les résidences, l’artiste complète et améliore sa formation à travers de nouvelles expériences avec l’environnement, en développant son travail loin de l’environnement habituel. Cet article vise à comprendre comment ces programmes ont modifié les processus de formation et de légitimation des artistes au Brésil. À cette<br />fin, les avis de sélection pour trois programmes de résidence artistique sont analysés: le Programa Bolsa Pampulha, promu depuis 2003 par la mairie de Belo<br />Horizonte au Museu de Arte da Pampulha; la Casa B-Residência Artística, lancée en 2016 par le Museu do Bispo Rosário Arte Contemporânea (MBRAC), à<br />Rio de Janeiro, avec l’encouragement de FUNARTE; et la Residência Artística Red Bull Station, une initiative financée par la société autrichienne Red Bull à São Paulo, depuis 2013.</p><p>Mots-clés: art contemporain. Jeunes artistes. Résidences artistiques. Déplacement. Légitimation. Carrière.</p>
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Antonini de Souza, Paulo César, and Maria Carolina Rodrigues. "Arte popular na região fronteiriça Brasil-Paraguai." MOTRICIDADES: Revista da Sociedade de Pesquisa Qualitativa em Motricidade Humana 3, no. 3 (December 8, 2019): 154–66. http://dx.doi.org/10.29181/2594-6463-2019-v3-n3-p154-166.
Повний текст джерелаАнотація:
Resumo Este artigo descreve o percurso investigativo originado por uma pesquisa vinculada ao Programa Institucional de Bolsas de Iniciação Científica – PIBIC desenvolvida no biênio 2016/2017, objetivando compreender a inexistência de artistas visuais bidimensionais na região de fronteira seca, situada no encontro entre Ponta Porã e Pedro Juan Caballero. Com abordagem qualitativa e condução fenomenológica, a pesquisa situada abarcou o período de 04 a 10 de abril de 2017 e se fundamentou pela análise do conteúdo de cinco Diários de Campo, considerando o registro de conversas desenvolvidas com seis interlocutores em atuação na área de artes. Os resultados da investigação denotam quatro elementos que podem auxiliar a superar os fatores da inexistência de artistas populares bidimensionais naquela região, promovendo um espaço que os acolha e considere.Palavras-chave: Artistas Populares. Fronteira Seca. Epistemologia. Intencionalidade. Popular art in the Brazil-Paraguay border region Abstract This article describes the course of a research originated from the Programa Institucional de Bolsas de Iniciação Científica – PIBIC developed in the 2016/2017, in order to understand the absence of bidimensional visual artists in the border region between Ponta Porã and Pedro Juan Caballero. Using a qualitative approach of phenomenological conduct, the situated research it happened in April 4 to 10, 2017 and was based on the analysis of the content of five Field Diaries, considering notes of conversations developed with six interlocutors working in the arts. The research results indicate four elements that can help overcome the lack of bidimensional popular artists in that region, promoting a space that welcomes and considers them.Keywords: Popular Artists. Dry Frontier. Epistemology. Intentionality. Arte popular en la región fronteriza Brasil-Paraguay Resumen Este artículo describe el camino de investigación originado por una investigación vinculada al Programa Institucional de Bolsas de Iniciação Científica – PIBIC, desarrollada en el bienio 2016/2017, con el objetivo de comprender la inexistencia de artistas visuales bidimensionales en la región de la frontera seca, ubicada en la reunión entre Ponta Porã y Pedro Juan Caballero. Con un enfoque cualitativo y una conducción fenomenológica, la investigación abarcó el período del 4 al 10 de abril de 2017 y se basó en el análisis de contenido de cinco diarios de campo, considerando las anotaciones. Se desarrollaron conversaciones con seis interlocutores que trabajan en el área de las artes. Los resultados de la investigación denotan cuatro elementos que pueden ayudar a superar los factores de la ausencia de artistas populares bidimensionales en esa región, promoviendo un espacio que los acoge y los considera.Palabras clave: Artistas Populares. Frontera Seca. Epistemología. Intencionalidad.
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Antonini de Souza, Paulo César, and Maria Carolina Rodrigues. "Arte popular na região fronteiriça Brasil-Paraguai." MOTRICIDADES: Revista da Sociedade de Pesquisa Qualitativa em Motricidade Humana 3, no. 3 (December 8, 2019): 154. http://dx.doi.org/10.29181/2594-6463.2019.v3.n3.p154-166.
Повний текст джерелаАнотація:
ResumoEste artigo descreve o percurso investigativo originado por uma pesquisa vinculada ao Programa Institucional de Bolsas de Iniciação Científica – PIBIC desenvolvida no biênio 2016/2017, objetivando compreender a inexistência de artistas visuais bidimensionais na região de fronteira seca, situada no encontro entre Ponta Porã e Pedro Juan Caballero. Com abordagem qualitativa e condução fenomenológica, a pesquisa situada abarcou o período de 04 a 10 de abril de 2017 e se fundamentou pela análise do conteúdo de cinco Diários de Campo, considerando o registro de conversas desenvolvidas com seis interlocutores em atuação na área de artes. Os resultados da investigação denotam quatro elementos que podem auxiliar a superar os fatores da inexistência de artistas populares bidimensionais naquela região, promovendo um espaço que os acolha e considere.Palavras-chave: Artistas Populares. Fronteira Seca. Epistemologia. Intencionalidade.Popular art in the Brazil-Paraguay border regionAbstractThis article describes the course of a research originated from the Programa Institucional de Bolsas de Iniciação Científica – PIBIC developed in the 2016/2017, in order to understand the absence of bidimensional visual artists in the border region between Ponta Porã and Pedro Juan Caballero. Using a qualitative approach of phenomenological conduct, the situated research it happened in April 4 to 10, 2017 and was based on the analysis of the content of five Field Diaries, considering notes of conversations developed with six interlocutors working in the arts. The research results indicate four elements that can help overcome the lack of bidimensional popular artists in that region, promoting a space that welcomes and considers them.Keywords: Popular Artists. Dry Frontier. Epistemology. Intentionality.Arte popular en la región fronteriza Brasil-ParaguayResumenEste artículo describe el camino de investigación originado por una investigación vinculada al Programa Institucional de Bolsas de Iniciação Científica – PIBIC, desarrollada en el bienio 2016/2017, con el objetivo de comprender la inexistencia de artistas visuales bidimensionales en la región de la frontera seca, ubicada en la reunión entre Ponta Porã y Pedro Juan Caballero. Con un enfoque cualitativo y una conducción fenomenológica, la investigación abarcó el período del 4 al 10 de abril de 2017 y se basó en el análisis de contenido de cinco diarios de campo, considerando las anotaciones. Se desarrollaron conversaciones con seis interlocutores que trabajan en el área de las artes. Los resultados de la investigación denotan cuatro elementos que pueden ayudar a superar los factores de la ausencia de artistas populares bidimensionales en esa región, promoviendo un espacio que los acoge y los considera.Palabras clave: Artistas Populares. Frontera Seca. Epistemología. Intencionalidad.
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Macaya, Albert, and Eloisa Valero. "Confluencias creativas. Un análisis interpretativo de las colaboraciones entre artistas y centros educativos." Arte, Individuo y Sociedad 34, no. 1 (January 10, 2022): 295–315. http://dx.doi.org/10.5209/aris.73872.
Повний текст джерелаАнотація:
Las colaboraciones de artistas profesionales en entornos educativos son relativamente nuevas entre nosotros, pero cuentan con una larga tradición en países como el Reino Unido, Estados Unidos o Australia. En esos ámbitos, ha existido desde hace años una preocupación por sopesar el impacto de los programas de colaboración artista-escuela. Esta preocupación, sin embargo, no está exenta de debate. Mientras para unos los indicadores objetivables utilizados justifican (o, eventualmente, refutan) los beneficios de tales programas, para otros los resultados adolecen a veces de sesgos de confirmación o son difíciles de cuantificar en base a indicadores objetivos. Una alternativa son los estudios de corte etnográfico o interpretativo, que nos permiten comprender desde la cercanía lo que sucede realmente en casos concretos. Inspirándonos en la segunda opción, abordamos una investigación interpretativa sobre el programa XXX. Más allá de la (acaso) previsible valoración positiva de los implicados, la investigación revela las interacciones entre docentes, artistas y participantes, su percepción de la experiencia vivida y el sentido y alcance que dan a los proyectos que comparten. Se revela cierto grado de coincidencia entre los tres grupos en algunos aspectos, mientras que en otros se observan algunas divergencias y fricciones.
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De páginas interiores, Nuestras artistas. "Nuestras artistas de páginas interiores." La Palabra y el Hombre, revista de la Universidad Veracruzana, no. 45 (November 23, 2018): 104. http://dx.doi.org/10.25009/lpyh.v0i45.2685.
Повний текст джерелаАнотація:
Atenea C.B es pintora e ilustradora egresada de la Facultad de Artes Plásticas de la Universidad Veracruzana. En 2016 ganó el premio de selección de la Tercera Bienal de Arte en Veracruz. Ha participado en alrededor de quince exposiciones colectivas y cinco individuales, la más reciente: Unus Mundus. En 2014 fue beneficiaria del Programa de Estímulos a la Creación y Desarrollo Artístico en Veracruz.Paulina Vilchis ha sido acreedora de la beca Jóvenes Creadores otorgada por el Ivec. Su técnica consiste en trabajar el grabado para intervenirlo después con otros materiales como el collage y la acuarela.
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Tinoco, Bianca Andrade. "O Programa Patronos da Arte Contemporânea e a coleção da Pinacoteca do Estado de São Paulo." MODOS: Revista de História da Arte 7, no. 3 (October 31, 2023): 648–78. http://dx.doi.org/10.20396/modos.v7i3.8673304.
Повний текст джерелаАнотація:
Mantido pela Pinacoteca do Estado de São Paulo desde 2012, o programa Patronos da Arte Contemporânea permitiu a aquisição de mais de 130 obras em 11 anos. O quantitativo altera o percentual de mulheres artistas representadas no museu, inclui os primeiros trabalhos de artistas indígenas contemporâneos, amplia o conjunto de artistas afro-brasileiros e insere no acervo categorias de linguagem até então ausentes ou pouco exploradas, como o vídeo e a performance. Favorável para a instituição, a parceria também traz benefícios para os patronos, porém enseja a discussão de questões éticas. A análise do programa inspira a consideração de medidas que permitam um equilíbrio entre interesses relacionados ao patrimônio artístico e aqueles relativos ao mercado de arte.
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Bortolanza, Elaine. "Artistas de Programa: fabulações radicais de putas e michês." REVISTA POIÉSIS 24, no. 42 (December 30, 2023): 187–94. http://dx.doi.org/10.22409/poiesis.v24i42.61298.
Повний текст джерелаАнотація:
Dissertação de Mestrado em Estudos Contemporâneos das Artes BRAZ, Augusto. Orientador: Mariana Rodrigues Pimentel. Banca: Eliana Bortolanza/PUC-SP; Guilherme Altmayer/ESDI-UERJ; Luiz Guilherme Vergara/PPGCA; Jorge Luiz Rocha de Vasconcellos/ PPGCA. Dissertação defendida no dia 08 de novembro de 2023, às 14H. Local: Xow Rumi, à Rua Benjamin Constant, 125, Bairro da Glória/Rio-RJ.
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Cinto, Sandra, and Albano Afonso. "Um breve relato sobre o Ateliê Fidalga e o Projeto Fidalga." Revista Farol 16, no. 23 (January 24, 2021): 30–36. http://dx.doi.org/10.47456/rf.v1i23.34027.
Повний текст джерелаАнотація:
Os artistas Sandra Cinto e Albano Afonso relatam sobre a transformação do grupo de estudos do Ateliê Fidalga, em que assumiam o papel de mediar o diálogo e fomentar trocas num processo horizontal de aprendizado mútuo em arte, para o Projeto Fidalga, composto de 4 ateliês coletivos, três salas expositivas, e um programa de residência artística com o objetivo de abrigar exposições experimentais e trabalhos desenvolvidos pelos artistas residentes e artistas convidados.
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Escritos em arte, Equipe Escritos de artistas,. "ESCRITOS DE ARTISTAS, ESCRITOS EM ARTE: NOTAS SOBRE O LEGADO DE FERREIRA E COTRIM / Artists writings, writings in art: notes on the legacy of Ferreira and Cotrim." arte e ensaios 27, no. 42 (January 3, 2022): 234–49. http://dx.doi.org/10.37235/ae.n42.17.
Повний текст джерелаАнотація:
A partir do legado deixado pelo livro Escritos de artistas: anos 60-70, organizado por Gl�ria Ferreira e Cecilia Cotrim, apresentamos nossa reconstitui��o desse contradispositivo (Agamben), a publica��o Escritos de artista, escritos em arte (v.1) feita por discentesdo Programa de P�s-gradua��o em Artes da Uerj. Entendemos o livro de Ferreira e Cotrim como uma atitude editorial (Morais) que permeia os campos da hist�ria da arte, da cr�tica, da curadoria e do fazer art�stico ao evidenciar a escrita de artista como um contradiscurso que coloca em di�logo tais segmenta��es. Neste artigo, demonstramos como as pesquisadoras nos fornecem as partituras editoriais para nossa execu��o atual e espec�fica ? sob uma perspectiva colaborativa e plural, respondendo a demandas locais de alunos do PPGArtes-Uerj.Palavras-chave:Escrita de artista. Gl�ria Ferreira. Uerj. Contradiscurso. Dispositivo.AbstractIn this article we present the reconstruction of the counterapparatus (Agamben): the publishing of Escritos de artista, escritos em arte (v. 1) by the students of the post graduation program of UERJ following the legacy of the book Escritos de artistas: anos 60-70, from authors Gl�ria Ferreira and Cecilia Cotrim. The book is understood as an editorial attitude (Morais) that permeates the fields of art history, critics, curatorship and art making by highlighting the artistic writing as a counterdiscourse that promotes dialogue between these segments. We demonstrate how the researchers provide the editorial guidelines for our current and specific execution ? under a plural and collaborative perspective as an answer to local demands of the students of PPGArtes-UERJ.Keywords:Artist writing. Gl�ria Ferreira. Uerj. Counterdiscourse. Apparatus.
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Osses, Patricia, and Paula Cristina Masoero Ernandes. "muitas vozes." ouvirOUver 17, no. 2 (January 19, 2022): 303–20. http://dx.doi.org/10.14393/ouv-v17n2a2021-61347.
Повний текст джерелаАнотація:
Este artigo surge da vontade de reflexão e entendimento do processo de ensino-aprendizagem ocorrido em uma equipe do Programa Vocacional, a partir da intensidade de experiências interlinguagens ocorridas no decorrer do ano de 2016. O programa é apresentado a partir de seus pressupostos e referências (como o educador Paulo Freire) e dos eventos levados a cabo pela equipe de artistas orientadores na Vila Curuçá, Zona Leste paulista. A intenção, a partir de ações artístico-pedagógicas que ainda reverberam em nossas trajetórias, é trazer à luz uma experiência que, em sua potência, continua nos modificando como educadoras e como artistas até hoje.
Дисертації з теми "Programa de Artistas"
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Meban, Margaret. "I'm doing what artists do!, a case study of an artist-in-residence program." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0004/MQ42716.pdf.
Повний текст джерела
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Foster, Thomas K. "Program-building : an investigation of the design of graduate and artist piano recitals." Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/897484.
Повний текст джерелаАнотація:
This study was conducted to ascertain and report attitudes of faculty-artist piano teachers at NASM-accredited music units with graduate programs concerning the diverse aspects of designing graduate student and artist piano recitals. A second objective was to compare and contrast the principles which govern program-building practices of graduate and artist piano recitals.The study consists of five chapters. Chapter 1 presents background information and the purpose, delimitations, and significance of the study. Chapter 2, a review of related literature, reveals that discontent toward program-building practices began as early as the middle of this century.Chapter 3 delineates the methods and procedures employed to collect the data. Responses collected from the questionnaire are reported in Chapter 4. Four recital types--graduate recitals, faculty-artist recitals, artist recitals in major cultural centers, and artist recitals in outlying areas are examined in terms of program length, format, content, and balance. Chapter 5 provides a summary of the study as well as comparisons and conclusions.It was found that graduate student and artist recitals enjoy few program-design commonalities. Analysis of the data revealed that only four commonalities were shared by all four recital groups: 1) Consider the respective moods of the repertory "Almost Always" or "Often" when determining the construction of a program, 2) a program's format should be chronological "Sometimes," 3) the "First Half" of a recital should be longest, and 4) lengthy works may be placed in "Both Halves" of a program.Respondents gave "Performer's Security" top priority when selecting the opening work for all recital types. Four criteria considered very important when selecting closing works were: 1) Mood, 2) Intensity, 3) Effectiveness, and 4) Performer's Security.Challenging the notion that there is one correct way to design a recital, participants offered a variety of strategies and formats. Finally, lists of suggested opening and closing works, works generally considered difficult for audiences and works composed post-1950 which have found favor with audiences are appended to the study.School of Music
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Chevillard, Brice. "OpenVG: Benchmarking and artistic opportunities." Thesis, Norges teknisk-naturvitenskapelige universitet, Institutt for datateknikk og informasjonsvitenskap, 2007. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-15684.
Повний текст джерелаАнотація:
OpenVG is a new open standard for 2 dimensions vector graphics for handheld devices. This project, which is a master thesis and an internship, aims to study the standard itself deeply before to study the role it can play in the future of artistic content creation.We will see that under some few conditions, OpenVG has everything to fulfil its role in the market and to attract digital artists who would like to enlarge their creation field. But the major aim of the project is to develop a benchmark for both hardware and software implementations. And to achieve this goal, a study of the theory of performance evaluation is necessary. And after developing the benchmark, it is interesting to run some few tests to illustrate some principles enounced while studying performance evaluation.
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Nolting, Jonathan R. "The Julius Rosenwald Fellowship Program for African American Visual Artists, 1929-1948." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1342104160.
Повний текст джерела
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Troop, Meagan. "Developing artistic identity in a post-secondary musical theatre program." Thesis, Kingston, Ont. : [s.n.], 2008. http://hdl.handle.net/1974/1380.
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Kidd, Karen Marie. "Towards a Better Use: The Utah Shakespearean Festival, Teaching Artists, and Outreach Programs." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/2863.
Повний текст джерелаАнотація:
Teaching Artists are an important component of the Utah Shakespearean Festival's Education Department's outreach touring program that visits K-12 schools throughout Utah each year. However, the Education Department could be using Teaching Artists in different and better ways to help K-12 teachers infuse theatre into their curriculum. This work looks carefully at the outreach offered by the Utah Shakespearean Festival's Education Department and then compares it to the outreach work being done by the Oregon Shakespeare Festival and Shakespeare Santa Cruz. Based on the analysis of the three festivals, assessment benchmarks are identified to aid the Education Department in evaluating their use of Teaching Artists and suggestions are made to help them strengthen their outreach programs through the creation of a Teaching Artist training program that would allow more Teaching Artists to work in Utah K-12 schools. The work concludes with ideas for lesson and unit plans for Teaching Artists of various levels to use in the K-12 classroom that align with the State Common Core Standards for Language Arts that were adopted by Utah in August, 2010.
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Johnsrude, Marlene. "Curricular integration through art, a case study of an Artists-in-the-Schools program." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape3/PQDD_0019/MQ55153.pdf.
Повний текст джерела
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Jilka, Milan. "Artistic Learning in an MFA Community." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538710/.
Повний текст джерелаАнотація:
The purpose of this phenomenographical case study is to explore the ways in which a group of MFA students conceive of their learning as they are enmeshed within an MFA community. The research follows along two guiding research questions: 1) What does artistic learning involve for graduate students in an MFA community? 2) How is one's artistic practice shaped by one's active participation in an MFA community? The findings of this study have been presented as lines of artistic learning and help to show the various conceptions that MFA students have of their learning as artists while in an MFA program of study. Ultimately, it is in better understanding one's lines of artistic learning that MFA students can be better supported in their journeying to become professional, practicing artists.
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Blackaller, Luis (Luis Eduardo Blackaller Bages). "Performing process : the artist studio as interactive art." Thesis, Massachusetts Institute of Technology, 2008. http://hdl.handle.net/1721.1/44806.
Повний текст джерелаАнотація:
Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2008.Includes bibliographical references (p. 123-127).
Digital technology has radically changed human communication in the last few decades. The digital medium has pushed cultural artifacts towards forms defined by interaction, participation, and social systems. This thesis looks at recent changes of artistic practice in the realm of digital visual arts. In order to study the intersection between interactive art and the digital image, I will describe the design of an online participatory studio system, where an artist can perform the creative process and respond to remote feedback from audience participants at the same time. Such a system opens a conversation between artist and audience that will shed new light on how we can learn, understand and communicate boundaries in digital space and digital interactive art.
by Luis Blackaller.
S.M.
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Kwok, Joon-Yee. "When sparks fly : developing formal mentoring programs for the career development of young and emerging artists." Thesis, Queensland University of Technology, 2010. https://eprints.qut.edu.au/39128/1/Joon-Yee_Kwok_Thesis.pdf.
Повний текст джерелаАнотація:
Formal mentoring programs are accepted as a valuable strategy for developing young and emerging artists.
This thesis presents the results of an evaluation of the SPARK National Young Artists Mentoring Program (SPARK). SPARK was a ten-month formal mentoring program managed by Youth Arts Queensland (YAQ) on behalf of the Australia Council for the Arts from 2003-2009. The program aimed to assist young and emerging Australian artists between the ages of 18-26 to establish a professional career in the arts. It was a highly successful formal arts mentoring program that facilitated 58 mentorships between young and emerging artists and professional artists from across Australia in five program rounds over its seven year lifespan. Interest from other cultural organisations looking to develop their own formal mentoring programs encouraged YAQ to commission this research to determine how the program works to achieve its effects.
This study was conducted with young and emerging artists who participated in SPARK from 2003 to 2008. It took a theory-driven evaluation approach to examine SPARK as an example of what makes formal arts mentoring programs effective. It focused on understanding the program’s theory or how the program worked to achieve its desired outcomes. The program activities and assumed responses to program activities were mapped out in a theories of change model. This theoretical framework was then used to plan the points for data collection. Through the process of data collection, actual program developments were compared to the theoretical framework to see what occurred as expected and what did not. The findings were then generalised for knowledge and wider application.
The findings demonstrated that SPARK was a successful and effective program and an exemplar model of a formal mentoring program preparing young and emerging artists for professional careers in the arts. They also indicate several ways in which this already strong program could be further improved, including: looking at the way mentoring relationships are set up and how the mentoring process is managed; considering the balance between artistic and professional development; developing career development competencies and networking skills; taking into account the needs of young and emerging artists to develop their professional identity and build confidence; and giving more thought to the desired program outcomes and considering the issue of timeliness and readiness for career transition.
From these findings, together with principles outlined in the mentoring and career development literature, a number of necessary conditions have been identified for developing effective mentoring programs in the career development of young and emerging artists.
Книги з теми "Programa de Artistas"
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Romero, Cintia Clara. Curadora: Residencia para artistas 2013. Santa Fe, Argentina: Universidad Nacional del Litoral, 2014.
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Romero, Cintia Clara, and Maximiliano Peralta Rodríguez. Curadora: Residencia para artistas, 2014/2015. Santa Fe: Universidad Nacional del Litoral, 2016.
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Guipúzcoa (Spain). Departamento de Cultura, Euskera, Juventud y Deportes and Koldo Mitxelena Kulturunea (San Sebastián, Spain), eds. Artista berrien programa: Programa de artistas noveles : Julen Agirre Edibar, Oier Iruretagoiena, Sahatsa Jauregi, Antonio Macarro, Daniel Mera, Mikel Otxoteko, Ainize Sarasola. Guipúzcoa]: Gipuzkoako Foru Aldundia, Kultura, Gazteria eta Kirol Departamentua, 2013.
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Espacio Fundación Telefónica (Buenos Aires, Argentina), ed. Intercampos II: Programa de análisis y desarrollo de proyectos dirigido a artistas y teóricos dentro del campo visual, 2006. Buenos Aires, Argentina: Espacio Fundación Telefónica, 2007.
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Médici, Ademir. Programa de auditório: Álbum ilustrado com os antecedentes e trajetória do rádio, dos radialistas e artistas no Grande ABC. Santo André, SP: Prefeitura de Santo André, Secretaria de Cultura, Esporte e Lazer, 2000.
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Qualina, Florencia, and Vania Scolavino. Experiencias 2008, 2009, 2010, 2011, 2012, 2013, 2014, 2015, 2016, 2017, 2018: Programa de Artistas : Universidad Torcuato Di Tella = Experiences 2008, 2009, 2010, 2011, 2012, 2013, 2014, 2015, 2016, 2017, 2018 : Artists' Program : Universidad Torcuato Di Tella. Buenos Aires: Universidad Torcuato Di Tella, 2020.
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Publications, Watson-Guptill, ed. Artist's resource: The Watson-Guptill guide to academic programs, artists' colonies and artist-in-residence programs, conferences, workshops. New York: Watson-Guptill Publications, 1999.
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Programa artista del mes: Mayo, 2003-2009. San Salvador, El Salavador: Museo de Arte de El Salvador, 2009.
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Torniainen, Marja-Liisa. Art as a way of life: Tampere Artist House 1962-2012 : history and the artists = Elämäntapana taide : Tampereen Ateljeetalo 1962-2012 : historia ja taiteilijat. Tampere [Finland]: Marja-Liisa Torniainen, 2012.
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Vangelisti, Alice. Falía*: Artists in residence. Albissola Marina (SV): Vanilla edizioni, 2019.
Знайти повний текст джерелаЧастини книг з теми "Programa de Artistas"
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Haroutounian, Joanne. "Artistic Ways of Knowing: Thinking Like an Artist in the STEAM Classroom." In Converting STEM into STEAM Programs, 169–83. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-25101-7_12.
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Kindelan, Nancy. "The Evolution of Theatre Studies Programs." In Artistic Literacy, 51–59. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137008510_3.
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Albino, Sara, and Carlos Alcobia. "I need you, but I don't want you: the ambiguity of artistic residencies and tourism." In Creative tourism: activating cultural resources and engaging creative travellers, 73–78. Wallingford: CABI, 2021. http://dx.doi.org/10.1079/9781789243536.0011.
Повний текст джерелаАнотація:
Abstract The artists in residency (AiR) programme attached to this project has been developed according to its mission of enabling a transient community for the FabLab while raising the profile of the place through creative interventions and communityled activities. Buinho's motto has emerged to be 'serious play', as the Buinho's AiR programme has been much inspired by Michael Resnik's idea of a 'lifelong kindergarten' (Resnik, 2018). Buinho acts as an enabling arena for both artistic research and technological experimentation. Creative practices are unleashed from formal methodological restraints through a programme that privileges an experimental approach.
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Golgath, Tabea. "The Funding Program LINK—AI and Culture." In Edition Museum, 173–80. Bielefeld, Germany: transcript Verlag, 2023. http://dx.doi.org/10.14361/9783839467107-015.
Повний текст джерелаАнотація:
In this article Tabea Golgath explains the goals, structure and effects of the funding program LINK - AI and Culture. The learnings after five years stress the importance of experiments and transdisciplinary exchange and collaboration. Money may not always be the limiting factor. Sometimes the lack of knowledge or partners is even worse. The creative process between artists and AI technology invites reflection. Despite the supposed dominance of technology, it is still the human being who determines directions, controls the process and makes the selection.
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Murray, Brittany. "Learning Together: Exploring Visual and Textual Narration with Students Affected by Forced Migration." In Migration, Displacement, and Higher Education, 37–48. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-12350-4_3.
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AbstractIn the summer of 2019, Vassar hosted its New Americans Summer Program. For two weeks, eighteen high school students came together to take academic classes, engage in artistic projects, and explore life on a liberal arts college campus, where they learned about possible courses of study and prepared for higher education. Participants, who had arrived in the United States within the previous two to three years, brought with them knowledge gleaned from Afghanistan, Guatemala, Guinea, Haiti, Honduras, Rwanda, Turkmenistan, and other nations. Participants completed STEM and humanities coursework, experimented with digital storytelling and filmmaking, painted a mural with the help of a guest artist, learned about the college admissions process, and joined social activities on campus as well as weekend field trips.
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Cuyler, Antonio C. "4. Until George Floyd." In Classical Music Futures, 81–90. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0353.04.
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The previous chapter advanced discourses about practical solutions to classical music’s exclusion problem relative to women, neurodiverse, and cultural workers from low socioeconomic backgrounds. In Moving Beyond @operaisracist: Exploring Blacktivism as a Pathway to Antiracism and Creative Justice in Opera and (Un)Silencing Blacktivism in Opera: A Conversation about the Letter to the Opera Field from Black Administrators, I document how the Black Opera Alliance and Black Administrators of Opera have compelled opera companies to sign a pledge for racial equity as the first step towards racial justice in classical music post George Floyd’s state-sanctioned murder in May of 2020. The pledge compels opera companies to (1) hire Black artists, (2) require staff, orchestra members, and independent contractors to reflect the racial demographics of our most diverse communities, (3) program and prioritize works by Black composers, (4) hire more Black creatives and production personnel, (5) require that visual artists undergo training in successfully preparing Black artists for the stage, (6) review the organisation’s hiring practices and policies for racism, (7) review the board’s recruitment culture, (7) and include within the company’s official code of conduct a commitment to anti-racism, and anti- oppression. Furthermore, the Black Administrators of Opera suggested that opera companies (1) commit to equity in salaries and promotion opportunities, (2) commit to company-wide racial equity education and professional development, (3) commit to equitable hiring and recruitment practices, (4) commit to company-wide intentional inclusion in the execution of mission and programs, and (5) commit to adequately funding company diversity, equity, and inclusion initiatives and working groups.
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Silva, Matheus Pereira da, Melquesedec de Souza Nascimento, Guilherme Cardoso Coelho de Sousa, and Jhonatta Pietro de Oliveira. "Problemas éticos: Artistas Digitais e Inteligência Artificial." In Anais da VII Jornada Científica do Programa de Pós-Graduação em Desenvolvimento Regional Sustentável - Proder. Editora Poisson, 2024. http://dx.doi.org/10.36229/978-65-5866-362-1.cap.124.
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Ballón, Alejandra. "El caso peruano de esterilización forzada y el arte de género. Notas para una etnografía crítica." In Arte y antropología: estudios, encuentros y nuevos horizontes, 195–207. Pontificia Universidad Católica del Perú, 2023. http://dx.doi.org/10.18800/9786123172275.015.
Повний текст джерелаАнотація:
El caso peruano de las miles de esterilizaciones forzadas que ocurrieron en el transcurso de la década de 1990, durante los sucesivos gobiernos autócratas del presidente Alberto Fujimori Fujimori y que fueron sistematizadas desde el segundo periodo gubernamental bajo el llamado Programa Nacional de Salud Reproductiva y Planificación Familiar (PNSRPF, 1996-2000) ha motivado la preocupación de diversas artistas visuales nacionales desde finales de dicha década hasta nuestros días
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Vale, Fábio do, and Lisbeth Rebollo. "CAPÍTULO INVISÍVEL DO MODERNISMO BRASILEIRO: o despertar da segunda geração modernista através das paisagens adormecidas pela história." In Institucionalização da arte moderna brasileira, 15–45. Life Editora, 2024. http://dx.doi.org/10.29327/5395814.1-1.
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Este trabalho traz – à luz da descolonização – o compromisso investigativo de pós-doutoramento pela Universidade de São Paulo, através da Escola de Comunicações e Artes da Universidade de São Paulo (ECA-USP) em consonância com o PROLAM Programa de Pós-Graduação em Integração da América Latina. A investigação teve como laboratório o grupo de Pesquisa Recepção Estética e Crítica de Arte, coordenado pela professora doutora Lisbeth Ruth Rebollo Goncalves. A problemática moderna esteve na bancada dos planos epistemológico e cultural. Nesse ínterim, pensar a organização de um livro em formato de e-book para a reunião de trabalhos confluentes a essa temática se deu pela estratégia recolher e, sobretudo, resgatar as páginas da história artística da segunda geração do modernismo brasileiro na década de 1930 que, por diversas inconsistências políticas e principalmente socioeconômicas, foram silenciadas. A atividade contemporânea tem caminhado em passos paulatinos a lugares inatingíveis e isso se dá pela ausência informativo-cultural que a nossa história produziu, porém não se reverberou por questões adversas de um grupo de artistas – Grupo Santa Helena – bastante afamado do período modernista e que por si só, não compreendiam outros artistas que não fossem do seu conluio. Utilizando o banco de dados do acervo digitalizado do Jornal Estadão, bem como, reuniões mensais por videoconferência coordenadas pela mesma supervisora, foram selecionados registros históricos que – a partir deste trabalho – fomentará e auxiliará no preenchimento das lacunas adormecidas do modernismo brasileiro em sua segunda geração coerente, justa e, consequentemente, contribuinte para a formação cultural da nossa fortuna crítica artístico-literária sendo este trabalho, o produto final do período conclusivo de pós-doutoramento e que também visa homenagear e enaltecer os artistas santelenistas.
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Bertucci, Paola. "Introduction: Savants, Artisans, Artistes." In Artisanal Enlightenment. Yale University Press, 2017. http://dx.doi.org/10.12987/yale/9780300227413.003.0001.
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This introductory chapter focuses on the artiste to explain the relationship among science, the mechanical arts, and the state in Old Regime France. Its main chronological arc is between the foundation of the Académie Royale des Sciences in 1666 and the publication of the first volumes of the Encyclopédie in 1751. The chapter discusses the Société des Arts, founded in Paris in 1728, as the most visible attempt to turn the expertise of the artiste into an instrument of the state. The society's ambitious program has attracted the attention of several Enlightenment scholars, who have pointed to the intellectual connections between the program of the Société des Arts and Diderot and D'Alembert's Encyclopédie.
Тези доповідей конференцій з теми "Programa de Artistas"
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Casellato, Stéfanie Fanelli. "Da igreja ao Museu Afro Brasil significados: da obra de Jesuíno do Monte Carmelo." In Encontro da História da Arte. Universidade Estadual de Campinas, 2013. http://dx.doi.org/10.20396/eha.9.2013.4469.
Повний текст джерелаАнотація:
Incluindo produções que vão de pinturas a composições musicais, a obra de Jesuíno do Monte Carmelo (Santos, 1764-Itu, 1819) foi resgatada por Mário de Andrade em biografia de 1944 e passou a ser (re)conhecida após as pesquisas realizadas pelo modernista. Hoje, passados quase 70 anos da publicação dos estudos de Mário pela revista do Sphan, sua biografia ainda se destaca como um dos principais estudos sobre o artista. Desde obra anterior de interpretação biográfica sobre Aleijadinho, Mario de Andrade buscou recuperar um passado artístico próprio e afirmar uma identidade nacional brasileira, objetivos que estavam de acordo com o programa modernista. Assim, o escritor defendeu a tese da “imposição do mulato”, a qual explica a originalidade de nossa produção artística a partir da liberdade de criação dos artistas brasileiros frente aos modelos portugueses.
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Santini, Renata Favarin. "Pesquisa em trajetória de artista: tecendo relações com a História da Arte brasileira a partir da poética da obra de Carlos Vergara." In Encontro de História da Arte. Universidade Estadual de Campinas, 2008. http://dx.doi.org/10.20396/eha.4.2008.4059.
Повний текст джерелаАнотація:
O presente trabalho corresponde a uma abordagem inicial de minha investigação junto ao Programa de Pós-Graduação em Artes Visuais da UFSM, na qual proponho um estudo sobre a produção poética do artista Carlos Vergara. Dentre os objetivos deste trabalho estão o de investigar, à luz da literatura conceitual e analítica, as características e dimensões estéticas da arte visual contemporânea, relacionando-as com as peculiaridades da produção poética deste artista. Também busco avaliar a ocorrência de uma coerência construída, através de entrecruzamentos entre a poética da obra e as motivações pessoais do artista, constatadas em diferentes momentos de sua produção plástica. A relevância de uma investigação no domínio da trajetória deste artista se deve a um olhar sobre as características que compõem a atuação do artista contemporâneo, avaliando sua participação dentro de uma narrativa composta por manifestações ocorridas no Brasil que se inicia na década de 1960, e que juntamente com outros artistas expoentes busca uma forma de intervir sobre aspectos de uma realidade brasileira. Diante das questões que avalio como pertinentes para a pesquisa em trajetórias, proponho indagações que abrangem os significados que a obra do artista adquire levando-se em consideração a estabilidade de seu percurso que se renova pela contínua atividade do artista.
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De la Torre Oliver, Francisco. "Aprendizaje experiencial mediante estudio de casos, basados en profesionales contemporáneos, en los primeros cursos de Grado." In IN-RED 2019: V Congreso de Innovación Educativa y Docencia en Red. València: Editorial Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/inred2019.2019.10528.
Повний текст джерелаАнотація:
Este proyecto persigue integrar a profesionales de referencia en el programa de la asignatura, en nuestro caso artistas contemporáneos en activo, mediante la metodología de estudio de casos desde un enfoque innovador y experimental con el fin de motivar a los alumnos de primer curso del Grado de Bellas Artes. A través de esta metodología activa incorporamos la experiencia de los artistas a través del el contacto directo con los alumnos en las aulas y en los espacios de creación o/y exhibición (estudios, galerías y museos). Presentamos, como ejemplo de nuestra investigación, el análisis del caso Sati Tena realizado durante el curso 2018-19 en la asignatura Fundamentos del color y de la pintura.
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Domingos, Bianca Siqueira Martins, Valéria Regina Zanetti, and Fabiana Felix do Amaral e Silva. "AS POTENCIALIDADES DA NETNOGRAFIA NA REALIZAÇÃO DE ESTUDO DE CASO AMPLIADO TRANSNACIONAL EM TEMPOS PANDÊMICOS." In VI Seminário do Programa de Pós-graduação Planejamento Urbano e Regional. Universidade do Vale do Paraíba, 2021. http://dx.doi.org/10.18066/semplur2021.01.
Повний текст джерелаАнотація:
Este resumo é um recorte da pesquisa de doutoramento intitulada "Graffiti e Narrativas Urbanas: Cartografia de Intervenções Artísticas em Municípios de Regiões Metropolitanas Latino-Americanas do Brasil e do Chile" e tem por objetivo apresentar as potencialidades da netnografia (ou etnografia virtual/digital) a partir da realização de Estudo de Caso Ampliado transnacional entre a Região Metropolitana do Vale do Paraíba e Litoral Norte (RMVPLN) e as cidades de Valparaíso e Santiago (Chile) em tempos pandêmicos. Este Estudo de Caso Ampliado possui centralidade nas narrativas de intervenções artísticas urbanas e visa identificar e categorizar artistas, espaços e coletivos e festivais nestas localidades a partir de parâmetros estabelecidos.
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Silvestre García, Laura, Micaela Maisa Montero, and Sara Gurrea Moreno. "Proyectos expositivos en la Sala d'Arcs. Análisis de las experiencias en las convocatorias VII y IX." In V Congreso Internacional de Investigacion en Artes Visuales ANIAV 2022. RE/DES Conectar. València: Editorial Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/aniav2022.2022.15507.
Повний текст джерелаАнотація:
Desde 2012, la Convocatoria Sala d’Arcs que la Fundación Chirivella Soriano lanza anualmente se ha convertido en plataforma de referencia para jóvenes artistas, consolidándose como programa para la difusión del arte. La convocatoria fomenta su inserción en el circuito expositivo valenciano, facilitando a la persona seleccionada la posibilidad de producir una exposición para este espacio y editar un catálogo del conjunto de la muestra.Por las circunstancias derivadas de la pandemia, las exposiciones de las ganadoras de la octava y novena edición no pudieron realizarse en los plazos previstos. El pasado mes de noviembre de 2021, ambas artistas desplegaron con convicción sus proyectos expositivos que destacan por su adecuación a las particularidades de la arquitectura gótica de la Sala d’Arcs, en la planta baja del Palau Joan de Valeriola que alberga a la Fundación.La ganadora de la VIII Convocatoria Sala d’Arcs 2019 es Micaela Maisa, artista de origen argentino y residente en Valencia. Su línea de trabajo estudia los modos de construcción de la visualidad desde la crítica, empleando una perspectiva de género, que se materializa en propuestas interdisciplinares que incorporan el audiovisual y la instalación. Su exposición Moretta Project. Acciones crípticas aúna prácticas artísticas que están vinculadas a una pregunta que se hace Maisa: ¿cómo habitamos la ciudad las mujeres?La artista valenciana Sara Gurrea es la ganadora de la IX Convocatoria Sala d’Arcs 2020. Su línea de trabajo gira en torno a la exploración de las posibilidades de la gráfica, la tipografía y los diferentes formatos de comunicación en relación a la creación del archivo, partiendo de redes sociales y de plataformas digitales. En la exposición La estancia, inmejorable reflexiona sobre la gentrificación que sufre desde hace varios años el barrio del Carmen de Valencia en relación con el fenómeno de los apartamentos turísticos.
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Lepra, Valeria. "Imágenes de migración. Un proyecto de investigación basada en las artes a partir de la experiencia de migrar." In VI Congreso Internacional de Investigación en Artes Visuales ANIAV 2024. València: Editorial Universitat Politècnica de València, 2024. http://dx.doi.org/10.4995/aniav2024.2024.17766.
Повний текст джерелаАнотація:
La postulación a este congreso se propone a fin de compartir avances de un proyecto de investigación en curso en el marco del programa de Doctorado en Arte y Cultura Visual de la Universidad Nacional de Rosario (Argentina). Recupera a partir de diversos dispositivos y desde una perspectiva de género y feminista la memoria de migración de mujeres que habitan de forma permanente, o en tránsito la ciudad de Montevideo.En esta etapa se trabaja a partir de las experiencias de mujeres y disidencias en relación a sus trayectos, evocación de imágenes de viajes, construcción de proyectos de vida y recepción en el país de acogida. Para ello se parte de la noción de trabajo de la imaginación acuñada por Arjun Appadurai (2001) los aportes de Abdelmalek Sayad y Gloria Anzaldúa.Asimismo se analiza la producción de artistas latinoamericanas en situación de movilidad que han problematizado la temática de la migración en su obra (Judi Werthein, Tania Bruguera, Lizania Cruz) haciendo foco en la construcción y representación del sujeto migrante. Para esto se parten de tres categorías operativas desarrolladas por Andrea Giunta: extranjerías, biopolíticas y archivos para pensar el arte contemporáneo y que permiten comprender tanto las prácticas de las artistas mencionadas como la experiencia de la movilidad.
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França, Alfredo Aparecido Alves, and ido Malta Campos Neto. "Das Galerias do Centro de São Paulo ao Prédio dos Diários Associados Arquitetura, Arte e Comportamento." In V JORNADA DISCENTE DO PROGRAMA DE PÓS-GRADUAÇÃO EM ARQUITETURA E URBANISMO - FAU MACKENZIE. Universidade Presbiteriana Mackenzie, 2021. http://dx.doi.org/10.5935/2238-5037.20210018.
Повний текст джерелаАнотація:
Este estudo reverencia a importância da união sinérgica entre planos urbanos, governo, legislação e iniciativa privada. Destaca o visionarismo de Prestes Maia que entendia a Cidade num contexto urbano-arquitetônico-jurídico-econômico-imobiliário. A cidade, para ele, não estava circunscrita em escaninhos, mas em significativas partes comunicantes e, como um organismo vivo, deveria ser gerida pela economia de mercado aliada com a legislação, como nesse período de sua administração. É uma prova, não só uma possibilidade! Galerias como arranjos arquitetônicos, as parisienses de Walter Benjamin e as paulistanas dos nossos arquitetos. A generosidade do elemento Pilotis como marca da arquitetura moderna. Será estabelecida uma visão introspectiva da cidade que as galerias proporcionam, sua função social, onde o espaço privado tem características de espaço público. Serão também relatadas as galerias e seus artífices, arquitetos e artistas que contribuíram para a consecução do patrimônio arquitetônico da Cidade de São Paulo. Será dada a importância no cenário nacional ao prédio dos Diários Associados como berço cultural de São Paulo, ao Museu de Arte de São Paulo e ao Museu de Arte Moderna. Nesse contexto será abordado o surgimento da Televisão Brasileira, graças à extraordinária atuação de Assis Chateaubriand.
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Sierra Reguera, Albert, and Lluís González. "Giravolt, dos años de difusión de las tecnologías 3D en el patrimonio Cultural." In Congreso CIMED - II Congreso Internacional de Museos y Estrategias Digitales. Valencia: Editorial Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/cimed22.2022.15579.
Повний текст джерелаАнотація:
En enero de 2020 se puso en marcha oficialmente Giravolt, un programa de difusión de las tecnologías 3D en el sector del patrimonio cultural en Catalunya. La iniciativa parte conjuntamente de la Agència y la Direcció General del Patrimoni Cultural, tras un análisis en 2018 de las tecnologías con un impacto creciente en el sector y la constatación que las tecnologías 3D se encontraban en una fase de adopción creciente en muchos otros sectores. El programa pretende fomentar la utilización de estas tecnologías en el sector del patrimonio, la comprensión de su utilidad en las diferentes fases de la cadena de trabajo, y su aplicación por los gestores e instituciones de forma autónoma en los próximos años.El programa se divide en cuatro ejes:· Creación y mantenimiento de un corpus digital. A través de diferentes convocatorias, Giravolt escanea objetos de museo, espacios arqueológicos o monumentos arquitectónicos. Con más de 300 modelos a Septiembre de 2022, y más de 100.000 visitas, esta colección de modelos 3D pretende ser una selección del patrimonio cultural en Catalunya, destacando especialmente su diversidad, tanto temática, como geográfica y cronológica.· Vinculación con el sector profesional. Diferentes acciones pretenden conectar a los profesionales del sector a estas tecnologías, se han programado diferentes jornadas de formación por todo el territorio, se han puesto en marcha capturas 3D especializadas para proyectos de investigación, por ejemplo, en grabados paleolíticos, pinturas rupestres, reconstrucciones de monumentos ibéricos o documentación de monumentos romanos y renacentistas. Una acción especialmente importante ha sido la publicación de una guía de buenas prácticas y protocolo para el sector.· Vinculación con el sector educativo. Además de participar en formaciones universitarias, se ha creado una actividad llamada #despertaelpatrimoni (despierta el patrimonio) que permite a escuelas e institutos escanear por sí mismos en 3D con sus teléfonos el patrimonio de su localidad y publicarlo en Internet.· Difusión a los diferentes públicos. A este epígrafe corresponden desde acciones de impresión 3D para crear actividades de accesibilidad, hasta presentaciones multimedia en colaboración con artistas contemporáneos, o la puesta en marcha de proyectos pilotos de realidad virtual.
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Lopes, Ana Carolina Fróes Ribeiro. "Hélio Oiticica: arte e cidade." In Encontro da História da Arte. Universidade Estadual de Campinas, 2014. http://dx.doi.org/10.20396/eha.10.2014.4146.
Повний текст джерелаАнотація:
O final dos anos 1960, no Brasil e em diversas partes do mundo é marcado pelo protagonismo da rua, enquanto local privilegiado para as manifestações artísticas em detrimento dos espaços institucionalizados, como museus e galerias de arte. A produção artística neste período busca vincular a experimentação de linguagem e as possibilidades de uma arte participante como crítica social e política. A rua passa a ser o espaço mais apropriado para as trocas coletivas, e a arte um convite à participação, ao descondicionamento social, como reação à repressão, mas também como crítica à passividade alienante que configura o indivíduo na sociedade capitalista. Neste contexto particular das artes e da política brasileira, destaca-se entre outros artistas, a figura de Hélio Oiticica (1937 – 1980). Este artigo debruça-se sobre o Programa Ambiental desenvolvido por Hélio Oiticica, explicitando o quanto a cidade está presente em seu processo criativo, não como receptáculo neutro, cenário, mas enquanto elemento ativo, campo de ação política.
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Nascimento, Suely. "A Casa de Marlene." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.106.g157.
Повний текст джерелаАнотація:
Este artigo apresenta a pesquisa “A Casa de Marlene”, que venho desenvolvendo no meu doutorado em Artes, Programa de Pós-Graduação em Artes, Instituto de Ciências da Arte, Universidade Federal do Pará, desde 2018. Uma extensão da pesquisa que produzi no mestrado em Artes, na mesma instituição de ensino superior, de 2016 a 2018. É uma poética construída a partir da memória familiar e afetiva, em que fotografia, vídeo, som, escrita, olfato, paladar, tato e sentimento se fundem — e integra a linha de pesquisa 1, da poética e dos processos de atuação nas artes, na linguagem artística das artes visuais. O objetivo geral é desenvolver um projeto poético e montagem de instalações com fotografia-vídeo-som-escrita, discos da casa da minha mãe. Bem como pensar-refletir sobre o meu próprio caminho e construir o memorial em que conto sobre o processo criativo da obra. Ao longo da minha carreira, como artista-pesquisadora, conversei com artistas como Claude Monet, Leonardo da Vinci e Hélio Oiticica; e com teóricos como Jean Lancri e Pedro Vasquez, na metodologia; Allan Sekula, em fotografia; Rosalind Krauss, na instalação; Renato Cohen, em performance; Philip Auslander, na documentação de performance; Sérgio Basbaum, na sinestesia; Allan Kaprow, na arte e na vida; Glória Ferreira e Cecília Cotrim, na escrita da artista; e Sonia Rangel, no processo criativo. Como metodologia pessoal, crio um jardim mesclado com as minhas memórias do jardim da casa onde morei, onde desenvolvo a instalação e o memorial. É neste lugar que experimento, leio, pesquiso, edito a fotografia-vídeo-som-escrita, reflito sobre a minha trajetória de vida e o que nela me toca, e escrevo os textos de pesquisa. Durante as aulas, nos estudos prático-reflexivos, fui construindo minha poética, experimentando instalações na própria sala de aula. Um deles, relacionado à cozinha da casa onde morava, experimentei dois assuntos, inclusive a experiência do café com colegas de classe. Cada camada da instalação é percebida no processo criativo da obra de arte. E, a partir do que percebo na minha poética, desenvolvo conversas com a História da Arte, e tenho concebido textos, que chamei de escritos do artista. Com as letras, palavras, frases e reflexões, escrevo o que pensei/penso sobre a geometria, as dimensões, o espaço, o quarto da casa e a partilha à volta de uma mesa de jantar. As camadas poéticas construídas no caminho criativo são inúmeras e, no fragmento da instalação, apresento vestígios que estão em mim, no jardim, no quarto, na cozinha e no quintal, onde vivi uma vida na casa da minha mãe.
Звіти організацій з теми "Programa de Artistas"
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Gattenhof, Sandra, Ulvund Marit, and Cecilie Haagensen. #YoungArt and Future Skills Report. Queensland University of Technology, 2023. http://dx.doi.org/10.5204/rep.eprints.244541.
Повний текст джерелаАнотація:
#Youngart & Future Skills research project had two main foci. One was to develop and investigate models for collaboration between the art and education sectors, and the second to inquire whether the art programs and teacher/artist collaboration promotes the future skills of Creativity, Collaboration, Critical Thinking, and Communication. Two art programs were carried out in Norwegian secondary schools in 2022 and 2023. Art program A was developed by a theater company in collaboration with a teacher and four artists in a large secondary school class with 45 students in Trondheim. Art program B was developed by a filmmaker in collaboration with a teacher in a small secondary school class with 18 students in Sunnmøre. One of the aims of #Youngart & Future Skills was to investigate how different class and school sizes functioned in different art programs. The art programs were documented through observation, interviews, questionnaires, and the students feedback on post-it notes and drawings, and the material was analysed by the research team. The research finds that of the four future skills Creativity, Collaboration, Communication, and Critical Thinking, the first three were strengthened through the art program, and Critical thinking to some extent. The collaboration between classroom teachers and teaching artist was appreciated by both parties. At the same time, there seems to be potential in a closer collaboration and a clarification of roles in relation to the implementation of the art program. It is important that both parties can use their expertise in the implementation, and that the school’s needs and the teaching artists goals and proficiency meet in a good way. There is a need for more research to explore and make choices in relation to the diversity of possibilities in scope, length, timetable, and forms of collaboration between teachers and artists.
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Vena, Anne. Cultural Center Annual Report 2012. Inter-American Development Bank, March 2013. http://dx.doi.org/10.18235/0006015.
Повний текст джерелаАнотація:
The Cultural Development Program promotes cultural development in Latin America and the Caribbean by financing innovative projects for training to restore artistic traditions, preserve cultural heritage, and educate youth. In 2012, we supported civil society organizations that submitted training programs related to new technologies, creative industries, tourism and natural heritage, among others. Concerts, lectures, films, art exhibitions held at headquarters representing the Bank's member countries cultural heritage
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Nucera, Diana J., and Catalina Vallejo. Media-making Pedagogies for Empowerment & Social Change: An Interview with Diana J. Nucera (AKA Mother Cyborg). Just Tech, Social Science Research Council, February 2022. http://dx.doi.org/10.35650/jt.3022.d.2022.
Повний текст джерелаАнотація:
" As part of our “What Is Just Tech?” series, we invited several social researchers–scholars, practitioners, artists, and activists—to respond to a simple yet fundamental question: “What is just technology?” This interview was conducted by Just Tech program officer Catalina Vallejo, who spoke with Diana J. Nucera, AKA Mother Cyborg, a multimedia artist, educator, and organizer based in Detroit, Michigan. Nucera (she/her) uses music, performance, DIY publishing, community-organizing tactics, and popular education methods to elevate collective technological consciousness and agency. Her art draws from and includes eleven years of community organizing work in Detroit. In their conversation, Vallejo and Nucera spoke about the history of independent media and the internet, the potential of media-making pedagogies for empowerment and social change, and being optimistic about opportunity in the midst of great challenges."
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Moreno Mejía, Luis Alberto, and Iván Duque Márquez. Contemporary Uruguayan Artists: An Uruguayan Presence in the About Change Exhibition. Inter-American Development Bank, February 2012. http://dx.doi.org/10.18235/0006209.
Повний текст джерелаАнотація:
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.
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Case, R., J. Alabakis, K.-A. Bowles, and K. Smith. Suicide prevention in high risk occupations. The Sax Institute, June 2020. http://dx.doi.org/10.57022/zfla9501.
Повний текст джерелаАнотація:
This review aimed to provide a summary of suicide prevention programs/interventions targeting specific occupations and key enablers for their effectiveness. It aimed to identify which occupations in NSW have higher rates of suicide and prevention programs/interventions targeting these groups which of these have been effective in reducing suicide risk. Particularly high rates of suicide risk were found among farmers, construction workers, emergency services personnel, veterinarians, entertainers and artists, and those in the transport industry. However, evidence on the effectiveness of preventive programs/interventions targeting high risk occupations is limited. The review concludes that there is an urgent need for high quality research into the effectiveness of such programs/interventions to guide future government spending in this area.
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Schacht, Kayley, Deidre Gonçalves, Aaron Schmidt, and Adam Smith. A History and Analysis of the WPA Exhibit of Black Art at the Fort Huachuca Mountain View Officers’ Club, 1943–1946. Engineer Research and Development Center (U.S.), June 2023. http://dx.doi.org/10.21079/11681/47184.
Повний текст джерелаАнотація:
The 1943 art exhibition at the Mountain View Officers’ Club (MVOC), Fort Huachuca, Arizona should be considered one of the most significant events in the intersection of American art, military history, and segregation. Organizers of the event, entitled Exhibition of the Work of 37 Negro Artists, anticipated it would boost soldiers’ morale because Fort Huachuca was a predominately Black duty station during WWII. This report provides a brief history of Black art in the early 20th century, biographies of the artists showcased, and provides information (where known) about repositories that have originals or reproductions of the art today. The following is recommended: the General Services Administration (GSA) investigate the ownership of the pieces described in this report and if they are found to have been created under one of the New Deal art programs to add them to their inventory, further investigation be performed on the provenance and ownership of Lew Davis’s The Negro in America’s Wars mural, for the rehabilitation of the MVOC that the consulting parties agree upon the scope of the reproduction of the art, and request archival full reproductions of the pieces of art found in the collection of the Howard University Gallery of Art.
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Rysjedal, Fredrik. Frozen Moments in Motion. Universitetet i Bergen KMD, January 2019. http://dx.doi.org/10.22501/kmd-ar.31524.
Повний текст джерелаАнотація:
What are the concepts of motion in digital comics? What types of motion can be used in comics and how does motion affect the presentation, the story and even the reader/viewer? This project is a part of the Norwegian Programme for Artistic Research, and it's executed at the Bergen Academy of Art and Design, today called Faculty of Fine Art, Music and Design at the University of Bergen.
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Patton, Desmond, and Catalina Vallejo. Examining Violence and Black Grief on Social Media: An Interview with Desmond Upton Patton. Just Tech, Social Science Research Council, February 2022. http://dx.doi.org/10.35650/jt.3020.d.2022.
Повний текст джерелаАнотація:
As part of our “What Is Just Tech?” series, we invited several social researchers—scholars, practitioners, artists, and activists—to respond to a simple yet fundamental question: “What is just technology?” This interview was conducted by Just Tech program officer Catalina Vallejo, who spoke with Desmond Upton Patton, Professor of Social Work at Columbia University and Just Tech Advisory Board member. Patton (he/him) studies how gang-involved youth conceptualize threats on social media and the extent to which social media may shape or facilitate youth and gang violence. He is the founding director of SAFElab, which centers young people’s perspectives in computational and social work research on violence, trains future social work scholars, and actively engages in violence prevention and intervention. In their conversation, Vallejo and Patton spoke about social media as an amplifier of violence, the importance of lived experience informing computational research, and misunderstandings about Black grief.
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Berggren, Erik. Migration and Culture. Linköping University Electronic Press, August 2024. http://dx.doi.org/10.3384/9789180757638.
Повний текст джерелаАнотація:
This report is written by students in the Ethnic and Migration Studies Master’s Programme, part of the Research Institute in Migration, Ethnicity, and Society (REMESO) at Linköping University, based on the Norrköping campus. REMESO is an internationally renowned institute that pursues research in migration and ethnic relations. The Master’s Programme is highly sought after, with students coming from all over the world to attend. Their interest in how migration transforms the world and how it influences other social phenomena has fuelled their work in this publication. In their first year of studies, students take the course Critical Cases in Ethnic and Migration Studies, led by Erik Berggren as course coordinator and Kenna Sim-Sarka. The course is designed for students to apply the theoretical knowledge and experiences gained throughout the first year’s courses to produce articles beyond an academic audience for the broader public. Each REMS report is based around a specific theme, with previous themes including migration and Covid-19, migration and Ukraine, and migration and democracy. The REMS report is one of the many ways in which we, as students, are trained to identify and analyse issues related to migration, integration, and diversity and to make research accessible to a wider audience. This year’s overarching theme is Migration and Culture, sparked by recent developments in Sweden’s and Norrköping’s politics of decreasing and cutting funds for cultural activities. Arts and culture are both areas of expression for migrant communities and people on the move, as well as those fighting against racism, discrimination, and exclusion. The current debate on “Swedish culture” and on a “Swedish cultural canon” recalls monolithic understandings of culture as a natural and immutable construct, contributing to the polarisation of views rather than the multiplication of perspectives and conceptions of it. Like culture, which can be visualised as a tapestry created from different threads, different contributions, woven together to form something complex, this report is also a collection of varied articles, united by a common theme. Some articles in this report look at the accessibility of culture in Sweden and its transmission through all kinds of mediums, such as TV programmes; others engage artists or “social artists” who care about issues like migration and the fight against racism and discrimination, and some focus on specific aspects of culture and arts, such as language, food, and music. The first-year students of EMS, 2024.
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Dmytrovskyi, Zenon. THE TEXTBOOK, THAT TEACHES AND BRINGS UP. Ivan Franko National University of Lviv, February 2022. http://dx.doi.org/10.30970/vjo.2022.51.11414.
Повний текст джерелаАнотація:
The review is about textbook on television and radio communication for students, teachers of faculties and departments of journalism, as well as journalists-practitioners, prepared by the author’s team edited by Vasyl Lyzanchuk. Textbok absorbed some considerations and conclusions from previous theoretical developments, which found a new meaning here, deeper argumentation, supplemented by many interesting observations that correspond to the spirit of the time, the innovations that have appeared in recent years in the media space of Ukraine. The textbook has ten sections, each of which is designed to enrich the student with knowledge of television and radio communications, teach him or her all that a media professional should know and be able to apply it in practice. The titles of the sections indicate their practical orientation: «Basic methodical measures of functioning of information radio and television genres», «How we analyze, interpret, explain facts, events, phenomena», «Features of the creation of artistic programs on radio and television» and others. All sections of the textbook are meaningfully connected and constructed in such a way as to provide students with the opportunity to gradually, step by step to deepen their theoretical and practical knowledge of television and radio communications. This is undoubtedly the merit of the authors of the edition. The student will benefit from the numerous examples of television and radio materials prepared by the students themselves. Their creative work should convince that this work can serve as a stimulus for creative work for future journalists during their years of study. In addition to professional competence, as rightly emphasized in the textbook by Professor Vasyl Lyzanchuk, “It is very important to form in students, future journalists, socio-national competence, deep understanding of the essence of freedom of speech and responsibility for the content of the spoken word and image, to develop the belief that they are active participants in the Ukrainian state-building processes, and not intermediaries or repeaters of information”. It should be noted that the educational element is present throughout the textbook starting with the first chapter, historical (author Professor Ivan Krupskyi). While studying this textbook, students should realize that from the honor of journalists, their dignity, patriotism depends on the honor, authority, bright name of Ukraine, its future; that their assertion of Ukrainian national identity is the key to further prosperity of our state.