American Art Today: Night Paintings

Catalog of an exhibition held at the Art Museum at Florida International University. Essay by Barbara Dayer Gallati ; curated by Dahlia Morgan.https://digitalcommons.fiu.edu/frostcatalogs/1020/thumbnail.jp

Through the Lens of Ed Westcott: A Photographic History of World War II\u27s Secret City (Exhibition Catalogue)

Catalogue of the 2005 exhibition made possible through a partnership between the Ewing Gallery of Art and Architecture, The University of Tennessee, and the American Museum of Science and Energy, Oak Ridge. The inaugural showing of this exhibition was held jointly at the Downtown Gallery, The University of Tennessee, and at the American Museum of Science and Energy, Oak Ridge, as a component of the 2005 Tennessee Valley Homecoming

Washington University Record, October 1, 2004

https://digitalcommons.wustl.edu/record/2013/thumbnail.jp

University for the Creative Arts staff research 2011

This publication brings together a selection of the University’s current research. The contributions foreground areas of research strength including still and moving image research, applied arts and crafts, as well as emerging fields of investigations such as design and architecture. It also maps thematic concerns across disciplinary areas that focus on models and processes of creative practice, value formations and processes of identification through art and artefacts as well as cross-cultural connectivity. Dr. Seymour Roworth-Stoke

Washington University Record, November 12, 1981

https://digitalcommons.wustl.edu/record/1216/thumbnail.jp

Physical Science in Barcelona

We provide a tour of Barcelona, Catalonia, Spain, following four routes through the city and one elsewhere in the city and beyond, focusing on sites of importance in physics. Route 1 covers the Old Town, its Gothic Quarter, Plaça del Rei, Plaça de Sant Jaume, and Jewish Quarter. Route 2 identifies sites on and close to La Rambla, the main promenade in the city. Route 3 goes from the medieval shipyards to the Board of Commerce to Citadel Park. Route 4 concentrates on the Extension (Eixample) and covers the restored University, the Industrial University, and the new campus of the University of Barcelona. Elsewhere in the city and beyond are the Fabra Observatory; the Plaça de les Glòries with its large steel sculpture depicting the meridian arc from Dunkirk to Barcelona; Montjuïc, the site of the National Art Museum of Catalonia; and the National Museum of Science and Technology in Terrassa

Review of practice-led research in art, design & architecture

This review report sets out the outcomes of a 10 month investigation to describe the landscape of practice-led research in Art, Design and Architecture (ADA) in the UK and beyond. We were asked for a qualitative review but of course it has been important to gather some numbers to check and illustrate our observations. We have consulted widely, both face to face and in the virtual world, with experts and novices in the UK and around the world. We have tried to strike a balance between the natural desire of our colleagues to debate the more contentious aspects of this territory (they were never going to forgo that opportunity) and the equally strong wish of the AHRC that we should provide a clear description of what is happening. We have collected some diverse examples of research and subjected them to various examinations. We have also examined a selection of research projects funded by AHRC and other projects by creative practitioners, funded by a non-research organisation. From all this we have been able to describe the landscape in a straightforward sense: We have measures of the proportions of ADA academics involved in practice-led research. We have clarified differences in the ways that the different ADA disciplines engage with practice-led research and identified some problems that indicate possible future support strategies. We have discussed some problems with general definitions of research and identified issues that should be addressed to ensure that the AHRC definition can be applied to the full range of practice-led research. We have picked out some specific case examples that illustrate the range of contexts, methods and contributions made by practice-led researchers, and more are described in detail in Appendix F. We have also sought to assess how this research relates to the wider international picture in which the UK appears to have a strong position in both volume and development of research. We have also set out some issues that affect this community of researchers: What strengths and weaknesses have we observed and where is there a need to support development? Do the AHRC definition of research and guidance on practice-led research provide an effective framework? We have illustrated the state of development of research in ADA, and some reasons why it is less robust than might be expected from such long established disciplines. We recommend that the career path of researchers in ADA needs some attention and make some suggestions about how that could be achieved. We have also indicated some areas of inquiry that might be supported to advance the theory and methods of practice-led research. In particular we have come to the conclusion that conventional ideas of contribution to knowledge or understanding may not be serving us well. This is significant to fine artists but we believe that it relevant across ADA and a shared effort to develop appropriate new models would be a constructive development. The full set of recommendations can be found in chapter 5

Focus Mediocene

This issue, following an international conference held at the IKKM in September 2017, is devoted to what may very well be the broadest media-related topic possible, even if it is accessible only through exemplary and experimental approaches: Under the title of the »Mediocene«, it presents contributions which discuss the operations and functions that intertwine media and Planet Earth. The specific relation of media and Planet Earth likely found its most striking and iconic formula in the images of the earth from outer space in 1968/69, showing the earth—according to contemporaneous descriptions—in its brilliance and splendor as the »Blue Marble«, but also in its fragility and desperate loneliness against the black backdrop of the cosmic void. Not only the creation but also the incredible distribution of this image across the globe was already at the time clearly recognized as a media eff ect. In light of space fl ight and television technology, which had expanded the reach of observation, communication, and measurement beyond both the surface of the Earth and its atmosphere, it also became clearly evident that the Planet had been a product of the early telescope by the use of which Galileo found the visual proof for the Copernican world model. Nevertheless, the »Blue Marble« image of the planet conceives of Earth not only as a celestial body, but also as a global, ecological, and economic system. Satellite and spacecraft technology and imaging continue to move beyond Earth’s orbit even as they enable precise, small-scale procedures of navigation and observation on the surface of the planet itself. These instruments of satellite navigation aff ect practices like agriculture, urban planning, and political decision-making. Most recently, three-dimensional images featuring the planet’s surface (generated from space by Synthetic Aperture Radar) or pictures from space probes have been cir-culating on the Web, altering politico-geographical practices and popular and scientifi c knowledge of the cosmos. Today, media not only participate in the shaping of the planet, but also take place on a planetary scale. Communication systems have been installed that operate all over the globe

Contemporaneity in the History of Art: A Clark Workshop 2009, Summaries of Papers and Notes on Discussions

Sponsored by the Clark Institute, Williamstown, and the Getty Research Institute, Los Angeles, the workshop was convened by Terry Smith, and held at the Sterling and Francine Clark Institute, Williamstown, Mass., October 8 and 9, 2009. These notes do not record the exact statements of all participants, neither in the summaries of papers nor notes on discussions; rather, they represent the author’s own impressions of the workshop as it unfolded. See also, in this issue of Contemporaneity, Wu Hung’s contribution to the workshop.</jats:p