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Creative connections : construir un proyecto internacional de educación artística desde la investigación-acción participativa

Hernández Hernández, Fernando; Márquez Bertoni, Carmela
Fonte: Edições Universitárias Lusófonas Publicador: Edições Universitárias Lusófonas
Tipo: Artigo de Revista Científica
Português
Relevância na Pesquisa
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Este artículo da cuenta de las características del proyecto europeo Creative Connections. Este proyecto tiene como objetivo favorecer la compresión y el intercambio entre los jóvenes participantes. Su carácter innovador radica en que, investigadores, docentes y estudiantes de los seis países asociados (Inglaterra, República Checa, Portugal, Irlanda, Finlandia y Cataluña-España) colaboran para que se manifieste la autoría de los jóvenes de 12 escuelas primaria y 12 de secundaria a través de las artes visuales, la ciudadanía y un multimedia digital. El proyecto promueve una galería de arte online llamada Connected Gallery, que incluye un espacio multilingüe que ofrece a los jóvenes la oportunidad de comunicarse tanto a través de imágenes como de textos desde sus voces multilingües. El grupo de investigadores colabora junto a los docentes en promover un diálogo activo entre los países mediante la comprensión de las diferentes maneras de experimentar la ciudadanía europea mediante el desarrollo de proyectos artísticos. Aquí se da cuenta de algunos aspectos que definen el proyecto: la cuestión de la voz, la investigación acción colaborativa, el sentido de la educación de las artes visuales, el proceso de formación para desarrollar el proyecto - desde la perspectiva de los investigadores y educadores que llevan a cabo Creative Connections en Cataluña.; Creative Connections is a three-year collaborative research project involving six universities and 24 primary and secondary schools that began in January 2012...

Relato das aparências de um entorno visível : seu processo criativo e a construção de uma linguagem visual; On the appearance of a visible surrounding : creative process and the construction of a visual language

Maria del Carmen Bosque Martinez
Fonte: Biblioteca Digital da Unicamp Publicador: Biblioteca Digital da Unicamp
Tipo: Tese de Doutorado Formato: application/pdf
Publicado em 29/02/2012 Português
Relevância na Pesquisa
38.277622%
A pesquisa se propõe a investigar a articulação das linguagens visuais e seus elementos como fundamento da prática artística e construção de uma poética, a partir de séries de trabalhos. Os trabalhos realizados se prendem aos acontecimentos no espaço ao meu redor, suas figuras, paisagens e objetos. Falam de um cotidiano que se organiza pelas formas aparentes que interferem em minha percepção e compreensão de mundo. A observação desse mundo de aparências se traduz a partir de uma diversidade de meios expressivos e procedimentos. No processo criativo contemplam-se as expressões bidimensionais como desenho, gravura ou pintura e a construção de cadernos dobráveis que se transformam em pequenos cenários tridimensionais, nos quais se interpõem e articulam as diferentes linguagens das artes visuais. A linha e a cor atuam como elementos básicos que, conforme seus arranjos e combinações, constroem outros elementos como luzes, transparências e contrastes potencializando a percepção desses relatos. Nestes cadernos se experimentam novas situações de apreensão do espaço e sua representação, permitindo sua manipulação e interferência por parte do leitor - fruidor. Haverá uma exposição a ser realizada na galeria de arte da Unicamp...

Artists and the Mind in the 21st Century

Koetsch, Geoffrey
Fonte: Frontiers Research Foundation Publicador: Frontiers Research Foundation
Tipo: Artigo de Revista Científica
Publicado em 02/11/2011 Português
Relevância na Pesquisa
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In 2008, Lesley University Professors Geoffrey Koetsch and Ellen Schön conducted an informal survey of New England artists to ascertain the degree to which recent work in neuroscience had impacted the visual arts. The two curators mounted an exhibition (MINDmatters May-June, 2008) at the Laconia Gallery in Boston in which they showcased the work of artists who had chosen mental processes as their primary subject. These artists were reacting to the new vision of the mind revealed by science; their inquiry was subjective, sensory, and existential, not empirical. They approached consciousness from several vantage points. Some of the artists had had personal experience with pathologies of the brain such as dementia or cancer and were puzzling out the phenomenon consuming the mind of a loved one. They looked to neuroscience for clarity and understanding. Some artists were personally involved with new techniques of cognitive psychotherapy. Others were inspired by the sheer physical beauty of the brain as revealed by new imaging technologies. Two of the artists explored the links between meditation, mindfulness practice and neuroscience. Issues such as the “boundary” and “binding” problems were approached, as well as the challenge of creating visual metaphors for neural processes. One artist visualized the increasing transparency of the body as researchers introduce more and more invasive technologies.

Miami Art Show, June 1, 1974

Florida International University
Fonte: FIU Digital Commons Publicador: FIU Digital Commons
Tipo: Artigo de Revista Científica Formato: image/jpg
Português
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Dahlia Morgan with Charles Perry. In the late 1970s, FIU had an enrollment of less than 5,000 and two buildings made up the entire campus. Adjunct professor, at the time, Dahlia Morgan was asked to take over the art museum, which was then called the Visual Arts Gallery. During her long career with Florida International University, Dahlia Morgan transformed a modest student gallery on the Miami campus into an internationally celebrated art museum. In 1980, after teaching for five years in the visual arts department she accepted the directorship of the university’s Patricia & Phillip Frost Art Museum (formerly the Art Museum at FIU). As director and curator, Morgan instituted a lecture series, increased the frequency of exhibitions and developed numerous other programs including a student internship program. The Steven and Dorothea Green Critics’ Lecture Series was started by Morgan in 1981 and has now organized, hosted and presented over 100 lectures by internationally renowned artists, critics and scholars who include Pierre Rosenberg, former Director of the Louvre; Hilton Kramer, Art Critic; Helen Frankenthaler, American artist; and Michael Graves, architect and designer. In 1985 Morgan started the exhibition series “American Art Today...

Miami Art Show, June 1, 1974

Florida International University
Fonte: FIU Digital Commons Publicador: FIU Digital Commons
Tipo: Artigo de Revista Científica Formato: image/jpg
Português
Relevância na Pesquisa
69.592603%
In the late 1970s, FIU had an enrollment of less than 5,000 and two buildings made up the entire campus. Adjunct professor, at the time, Dahlia Morgan was asked to take over the art museum, which was then called the Visual Arts Gallery. During her long career with Florida International University, Dahlia Morgan transformed a modest student gallery on the Miami campus into an internationally celebrated art museum. In 1980, after teaching for five years in the visual arts department she accepted the directorship of the university’s Patricia & Phillip Frost Art Museum (formerly the Art Museum at FIU). As director and curator, Morgan instituted a lecture series, increased the frequency of exhibitions and developed numerous other programs including a student internship program. The Steven and Dorothea Green Critics’ Lecture Series was started by Morgan in 1981 and has now organized, hosted and presented over 100 lectures by internationally renowned artists, critics and scholars who include Pierre Rosenberg, former Director of the Louvre; Hilton Kramer, Art Critic; Helen Frankenthaler, American artist; and Michael Graves, architect and designer. In 1985 Morgan started the exhibition series “American Art Today,” which featured an annual examination of a specific subject or concept in American Art. Morgan curated and organized over 200 exhibitions during her directorship. Under Morgan...

Miami Art Show, June 1, 1974

Florida International University
Fonte: FIU Digital Commons Publicador: FIU Digital Commons
Tipo: Artigo de Revista Científica Formato: image/jpg
Português
Relevância na Pesquisa
69.592603%
In the late 1970s, FIU had an enrollment of less than 5,000 and two buildings made up the entire campus. Adjunct professor, at the time, Dahlia Morgan was asked to take over the art museum, which was then called the Visual Arts Gallery. During her long career with Florida International University, Dahlia Morgan transformed a modest student gallery on the Miami campus into an internationally celebrated art museum. In 1980, after teaching for five years in the visual arts department she accepted the directorship of the university’s Patricia & Phillip Frost Art Museum (formerly the Art Museum at FIU). As director and curator, Morgan instituted a lecture series, increased the frequency of exhibitions and developed numerous other programs including a student internship program. The Steven and Dorothea Green Critics’ Lecture Series was started by Morgan in 1981 and has now organized, hosted and presented over 100 lectures by internationally renowned artists, critics and scholars who include Pierre Rosenberg, former Director of the Louvre; Hilton Kramer, Art Critic; Helen Frankenthaler, American artist; and Michael Graves, architect and designer. In 1985 Morgan started the exhibition series “American Art Today,” which featured an annual examination of a specific subject or concept in American Art. Morgan curated and organized over 200 exhibitions during her directorship. Under Morgan...

Between silver light and orange shadow

Sisto, Elena; Westfall, Stephen; Vigilante, Amy; Hwang, Connie
Fonte: Universidade da Flórida Publicador: Universidade da Flórida
Tipo: Artigo de Revista Científica Formato: [6] p., 27 pages of plates, [8] p. : ill. ; 22 cm.
Publicado em //2012 Português
Relevância na Pesquisa
38.692705%
Catalog for an exhibition at Freedom Tower Gallery, Miami Dade College, Sept. 7 - Nov.3, 2012; University Gallery, University of Florida, Dec. 4, 2012 - Feb. 1, 2013; Lori Bookstein Fine Art Gallery, New York, April 25 - May 25, 2013.; Catalog design by Connie Hwang.; (Funding) Digitization by the Gary R. Libby Charitable Trust.; Catalogue funding for the University Gallery venue was provided by a grant from the Elizabeth Firestone Graham Foundation.; (Statement of Responsibility) [essays by Steven Westfall and Amy Vigilante].

Beyond Familiar Territory: Dissertation: De-centering the Centre (An analysis of visual strategies in the art of Robert Smithson, Alfredo Jaar and the Bark Petitions of Yirrkala); and Studio Report: A Sculptural Response to Mapping, Mining, and Consumption

Schwarz, Janien (Nien)
Fonte: Universidade Nacional da Austrália Publicador: Universidade Nacional da Austrália
Tipo: Thesis (PhD); Doctor of Philosophy (PhD)
Português
Relevância na Pesquisa
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Dissertation: "Beyond Familiar Territory" researches various visual and conceptual strategies that facilitate connection between urban-based audiences and peripheral areas of ground where the extraction of mineral resources occurs. The Dissertation is a comparative analysis of selected works by Robert Smithson, Alfredo Jaar, and the Bark Petitions of the Yirrkala people in North East Arnhem Land. The focus is on how these artists have endeavoured to challenge urban audiences, disrupt the perceived hierarchy between centre and periphery, and bridge gaps between urban sites of mineral consumption and overlooked sites of mineral extraction. ¶ "Beyond Familiar Territory" takes the form of this Dissertation (33%), and an exhibition of works at the Canberra Museum and Gallery (CMAG) from 6 February to 21 March, 1999, which, together with the Studio report, documents the outcome of the Studio Practice Component (67%).¶ ...; Note: Author has set his own password. Thesis also included a website, neither the address nor the contents of which were able to be downloaded; yes

Asian-Australian dialogues in the visual arts: Sherman Galleries and Gallery 4A at the Asia-Australia Arts Centre

Jose, R.
Fonte: Art and Australia Pty Ltd. Publicador: Art and Australia Pty Ltd.
Tipo: Artigo de Revista Científica
Publicado em //2001 Português
Relevância na Pesquisa
28.157393%

Hamer, Signs of Cleopatra

A.A. Donohue
Fonte: The Medieval Review Publicador: The Medieval Review
Tipo: Revisão
Português
Relevância na Pesquisa
27.79938%
A.A. Donohue, Center for Advanced Study in the Visual Arts, National Gallery of Art

Ringbom, Voice of the Åland Churches (Benjamin Zweig)

Benjamin Zweig
Fonte: The Medieval Review Publicador: The Medieval Review
Tipo: Revisão
Português
Relevância na Pesquisa
27.79938%
Benjamin Zweig, Center for Advanced Study in the Visual Arts, National Gallery of Art, b-zweig@nga.gov

Wonderlust: the influence of natural history illustration and ornamentation on perceptions of the exotic in Australia

Dickson, Nicola Jan
Fonte: Universidade Nacional da Austrália Publicador: Universidade Nacional da Austrália
Tipo: Thesis (PhD); Doctor of Philosophy (PhD)
Português
Relevância na Pesquisa
28.552131%
This thesis is comprised of two parts: a Studio Research component with an accompanying Exegesis (66%), and a Dissertation (33%). The Dissertation presented here examines the historical and cultural context of the production of natural history illustration and ornamentation, and the formal qualities of these visual forms that enabled them to inform and disseminate exotic constructions and perceptions. These visual forms were a significant part of the intellectual and cultural framework of the eighteenth and nineteenth centuries and frequently represented the 'other' as desirable and different. The aesthetic responses generated by such exotic representations operated subliminally to develop and reinforce dualistic notions surrounding the difference of the distant 'other' in comparison to the European self. The Dissertation examines the specificity of the operation of these visual forms in relation to exotic perceptions of the Australian 'other' from the late eighteenth to the early twentieth centuries, and develops an argument about the rise of a unique mode of perceiving the Australian 'other'. The Dissertation elaborates the theoretical context for the studio research which is an evocation and examination of the aesthetic experience of the exotic...

Desenho : serie 89/94

Lucia E. Fonseca Ribeiro
Fonte: Biblioteca Digital da Unicamp Publicador: Biblioteca Digital da Unicamp
Tipo: Dissertação de Mestrado Formato: application/pdf
Publicado em 06/02/1995 Português
Relevância na Pesquisa
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Este trabalho de mestrado em artes tem como objeto de pesquisa o "Desenho: Série 89/94", composto de vinte e nove imagens realizadas em papel com meios e técnicas diversas e em grandes e variadas dimensões. Como complemento, realizei leitura e reflexão na forma desta dissertação, dividida em Partes I e li, contendo registro fotográfico de dezoito trabalhos. Nesta reflexão pretendo situar os conceitos e os elementos variados implicados no processo de criação desse segmento de produção, aliados a um olhar sobre possíveis referenciais históricos. Esses desenhos possuem sentido dramático que se realiza no processo e no procedimento d~ criação: o gesto-signo, o gesto-corte, o gesto-matéria e o gesto do fazer - energias formantes responsáveis pela estrutura do desenho, determinando e pronunciando o seu caráter gráfico. Estão inseridos num contexto de arte de conteúdo mais aberto em seu significado humano e espiritual, que - não representa coisas ou sentimentos definidos, resultado de tudo que compõe a minha vivência: o mundo do artista. A busca pelos referenciais históricos se deu pela certeza de que os trabalhos que desenvolvo não estão isolados no espaço-tempo, mas possuem vínculos com situações históricas pós Segunda Guerra Mundial. Realizo um olhar de autor sobre a obra de outro autor...

Art Business: The Indigenous Visual Arts Infrastructure

Altman, Jon
Fonte: Art Gallery of New South Wales Publicador: Art Gallery of New South Wales
Tipo: Parte de Livro
Português
Relevância na Pesquisa
37.79938%

O desenho da cena como experiência: intersecções na prática artística contemporânea entre cenografia instalação expografia; -

Cohen, Miriam Aby
Fonte: Biblioteca Digitais de Teses e Dissertações da USP Publicador: Biblioteca Digitais de Teses e Dissertações da USP
Tipo: Tese de Doutorado Formato: application/pdf
Publicado em 07/08/2015 Português
Relevância na Pesquisa
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Apresenta uma abordagem do cenógrafo como artista autônomo capaz de elaborar e materializar narrativas próprias, além de acercar-se daquelas já existentes. Um artista que transita por diversas áreas de linguagem, cuja produção coloca a cenografia como protagonista no contexto das Artes Visuais, das Artes Performáticas e da Museografia. Identifica e analisa as intersecções, o ENTRE, das linguagens distintas, nas quais o cenógrafo expressa-se artisticamente: cenografia, instalação e expografia, definindo o termo \'desenho da cena\' para referir-se à produção nas distintas áreas e em suas intersecções. Adota o conceito de \'desenho da cena como experiência\' para tratar da relação e impacto entre o desenho de cena e o indivíduo. Destaca a produção da autora dessa tese, seus \'desenhos de cena\', como objetos de análise, produções realizadas durante o período vigente dessa pesquisa, de 2011 a 2015; complementando, pontualmente, com produções de relevância de outros autores, que elucidam as intersecções e colaboram para análise do tema. Projetos curatoriais recentes que apresentam relevância e influência nas práticas artísticas contemporâneas no campo do desenho da cena são também selecionados para análise...

CICC Information System

Lin, Chang-Mei
Fonte: Rochester Instituto de Tecnologia Publicador: Rochester Instituto de Tecnologia
Tipo: Tese de Doutorado
Português
Relevância na Pesquisa
28.157393%
The CICC Information system is an interactive media project simulated to be provided by the Chinese Information and Culture Center (CICC). It provides various Chinese information and the CICC services via the telecommunication network between the end-users' computer and the terminal of the CICC. Through this connection, the user can not only search the Chinese art and culture information they are interested in, but also acquire the services providing by the CICC Library, Taipei Gallery and Taipei Theater. The intention of this project is to design an electronic information system for the real world. Both interface design and audio-visual aspect are my concerns.

Art recording art: Creating an interactive visual document of personal experience

Rubin, Ben
Fonte: Rochester Instituto de Tecnologia Publicador: Rochester Instituto de Tecnologia
Tipo: Tese de Doutorado
Português
Relevância na Pesquisa
38.739663%
This document was submitted to fulfill the thesis requirement for the Master of Fine Arts (MFA) at Rochester Institute of Technology (RIT). The following thesis introduction includes a Quick Response Code (QR) and a Universal Resource Locator (URL), both of which point the reader to a complex, interactive website housing an online version of the thesis and artwork. This thesis explores how the notetaking process can shape personal language as it bridges the contexts of education and art. The author appropriates the medium of notetaking and adapts it for the world of fine art. The project documents the various paths of all thirty graduating masters students from the College of Imaging Arts and Sciences (CIAS) who shared the Bevier Gallery for their thesis show in 2011. Through a combination of traditional and digital interactive media, the work reveals the experiential nature of notetaking, both in terms of the notetaker and the audience. The notes themselves are visual maps of conversations between the notetaker and his peers, taken in real-time and synchronized with accompanying audio and video recordings. Within this thesis, physical and web experiences blend together and become interdependent. The full library of these multimedia documents is shared in an online space and referenced throughout the online version of the thesis.

Ereview; Non-CMYK Pictorial Color Image Reproduction

Print Industry Center
Fonte: RIT: College of Imaging Arts and Science Publicador: RIT: College of Imaging Arts and Science
Tipo: Newsletter
Português
Relevância na Pesquisa
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Rules, sometimes, are meant to be broken. For example, printing freshmen learn that lithography works based on the principle of "ink and water do not mix." By the time they are seniors, they learn that emulsified ink is necessary in order for a lithographic press to function properly. After all, ink and water do mix. Any printing student or professional will admit that a golden rule in pictorial color image reproduction is that process color or CMYK inks should always be used. To challenge the rule, one must ask the question, "Can pictorial color images be reproduced using non-CMYK inks?" This is the question that is answered in the paper "Non-CMYK Pictorial Color Image Reproduction." The paper was authored by Bob Chung, Gravure Research Professor in the RIT School of Print Media, and was published in Test Targets 8.0 in the "Gallery of Visual Interest" section.; RIT Printing Industry Center newsletter

University Magazine Spring 2000; RIT The University Magazine Spring 2000; RIT University Magazine Spring 2000; University Magazine (RIT) Spring 2000

Simone, Albert; Fandel, Susan; Maynard, Laurie; Murphy, Susan; University News Staff
Fonte: Rochester Institute of Technology Publicador: Rochester Institute of Technology
Tipo: Magazine Formato: 5195554 bytes; application/pdf
Português
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This is the official magazine for RIT alumni. Issued twice per year (semiannual), spring and fall, beginning in 1999.; MAIN FEATURES OF THIS ISSUE: Front cover: A Startlingly beautiful Intrepid. / A message from the president. / Frederick Wiedman Jr. bequeaths $5 million to RIT. / RIT President named to New York’s Federal Reserve Bank. / Au Revoir: Ex-dormitory, Hotel Rochester, demolished Dec. 18th. / Rock the (boat) house: Rowing team claims permanent residence. / Kickin’ back: Student Life Center turns 8 years old. / Dyers’ donate $2.5 million to create NTID visual arts center. / RIT Research Corp. plays key role in UN global census project. / Singled out: Andrew Moore, dean of COLA, aims to move RIT’s liberal arts curriculum into the technology era. / First in class [Initiative]: Industry and government partners find solutions at RIT. / The Big(gest) Shot (yet): RIT photographers capture the Intrepid [Sea Air Space Museum]. / And afterwards: RIT alumni, faculty, administrators and friends celebrate after Big Shot. / Fluent fingers: Filling the communications gap—the American Sign Language and Interpreting Education (ASLIE) program. / NTID goes global: $180,000 grant for Project Inclusion—an international program promoting the improvement of postsecondary education for deaf and hearing-impaired students. / From your mouth to…: Adapting new speech recognition system for real-time...

Collecting South African art in the 1930s: The role of Martin du Toit

van Eeden,Jeanne
Fonte: Historia Publicador: Historia
Tipo: Artigo de Revista Científica Formato: text/html
Publicado em 01/01/2008 Português
Relevância na Pesquisa
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The first head of the Department of Afrikaans Art and Culture at the University of Pretoria in the 1930s was Professor Martin du Toit, a well-known figure in Afrikaner cultural circles. His vision for the new department included the ideal of exposing students to the work of South African artists. He believed passionately in the future of the arts in South Africa and was enthusiastic in establishing them in the so-called "North", particularly in Pretoria. Martin du Toit was involved in many cultural bodies and activities and instituted regular art exhibitions under the auspices of the Department of Afrikaans Art and Culture in the Macfadyen Memorial Hall in Pretoria. These exhibitions focused on contemporary South African artists and brought the work of groundbreaking painters such as Irma Stern and Maggie Laubser to the attention of the public. Du Toit also wanted to build up a representative collection of Afrikaner material culture and visual art at the university. This article examines this endeavour, contextualises it in relation to aspects of public art collecting in South Africa during the 1930s, and shows how Du Toit laid the foundation for the current art collection of the University of Pretoria.