204,375 research outputs found
Australians at war : in the tunnel : Hill 60, Belguim, August 1917 /
No full textTitle from accession sheet and research sources.; Part of the collection: A collection of lithographs made from drawings by Will Dyson while acting as a war artist with the Australian Imperial Forces.; Inscriptions: Signed by the artist in pencil, lower right; "463/28"--In pencil, lower left.; Condition: Soiled.; Also available online at: http://nla.gov.au/nla.pic-vn6540864; Exhibited: "Keepsakes: Australians and the Great War", National Library of Australia, 26 November 2014 – 19 July 2015
Australians at war : watching the opening of the July Offensive at Messines-Kemmel Hill, Belguim, approximately 1917 /
No full textTitle from accession sheet.; Part of the collection: A collection of lithographs made from drawings by Will Dyson while acting as a war artist with the Australian Imperial Forces.; Inscriptions: Signed by the artist in pencil, lower right; "469/25"--In pencil, lower left.; Condition: Tears.; Also available online at: http://nla.gov.au/nla.pic-vn6540601; Exhibited: "Keepsakes": Australians and the great war, NLA Exhibition Gallery, 25 Nov 2014 - 31 May 2015
Australians at war : the grooms of Happy Valley at Franvilliers in the Somme, France, 1918 /
No full textTitle from accession sheet.; Part of the collection: A collection of lithographs made from drawings by Will Dyson while acting as a war artist with the Australian Imperial Forces.; Inscriptions: Signed by the artist in pencil, lower right; "473/42"--In pencil, lower left.; Condition: Tears, soiled.; Also available online at: http://nla.gov.au/nla.pic-vn6540491; Exhibited: "Keepsakes: Australians and the Great War", National Library of Australia, 26 November 2014 – 19 July 2015
Why make a case for the artist facilitator?
No full textSocially orientated processes present challenges of relationships, authorship, responsibility, multiple points of view and experience. They involve different understandings, personalities and behaviour. In the context of gallery-based learning, this research suggests the most effective approaches for making or engaging with art requires some form of facilitation. Best practice draws on skills and attributes to unlock the potential of participants. The process is active, experiential and one that scaffolds learning. When effective, the situation becomes a two-way process.
Using case studies and personal insights to inform understanding, the research explores the practice of artists who engage with contemporary art from the perspective of the artist, rather than participants. The term ‘artist facilitator’ has been used to define an artist when their role requires them to be facilitator, educator or enabler. Whilst the artist facilitator is not a teacher, the roles are closely aligned. Like any good facilitator (or teacher) the artist facilitator acts as mediator, mentor and catalyst. Studying this role has sought to gain critical understanding of the particular qualities presented by the artist and identify models of good practice, in order to determine what skills and attitudes are required for creative practitioners working collaboratively within participatory settings. Through defining the term, a case is made for the unique nature of creative learning that practicing artists can provide to non – artist audiences.
To articulate practice the researcher proposes a paradigm that recognises time and space as influential factors and determinants of artistic practice. Sociolinguistic enquiry has led to the recognition that a community can be constructed through social networks. The relationships between individuals within these groupings can influence interaction, perceptions and impact upon pedagogy.
The research contributes to a wider body of work, and discourse that has international significance, through the PHF ArtWorks initiative, the Artist Teacher Scheme, and InSEA
Analysis of Stephen Dedalus’s search for an identity in A Portrait of the Artist as a Young Man by James Joyce
No full textA Portrait of the Artist as a Young Man, by James Joyce, is considered to be one of the
principal examples of the genre Künstlerroman (the novel of the artist). This study analyzes
the search of the protagonist Stephen Dedalus for an identity, which encompasses a time
period from his infancy to his late adolescence.
Brought up by a pious Catholic governess, Stephen Dedalus is exposed to the term ‘morality’
at a very young age. Due to Ireland’s turbulent political atmosphere, in which the church
plays an important role, young Stephen becomes aware of the conflict between the secular
front and the Irish Church. As he gradually gets disinterested in Irish politics as a result of its
aggressive complexity and the death of a national hero, he begins to develop a sense of
‘difference’, in relation to his realisation of his odd surname. Later on, the economic decline
of the Dedalus family and his father’s reckless attitude prompt him to isolate himself from the
family firstly through sex, and then through religious uprightness. However, when he finally
realises that his surname alludes to a Greek myth of liberation, he spurns the idea of joining a
religious order and officially recognises his inherent qualities that fit in with the definition of
an artist
Portrait of an artist
No full textMedium: engravingnot signed, not dated."Portrait of an artist" [2012.0125.000.000], Unknown ArtistArtist and Role: Unknown Artist,Extent: plateExtent: shee
Artist-led, artist-used: experiences at Coventry's Summer Dancing 2009
No full textThis multi-authored article arises from an artist-led festival of dance and probes what is entailed by the commitment to an artist-led structure. The festival, Summer Dancing 2009 in Coventry, is becoming significant in the United Kingdom as a gathering, both regionally and nationally, of practitioners whose expertise is grounded in what might be termed somatic dance practices. It is proposed that artist-led may indicate an aim to be led by artists for other artists; that is, for an event or organization to be artist-used and useful. With the question of artists' use at the fore, the article reports on a festival panel debate and on a project of practitioner-focused writing, examining how a dance practitioner may be stimulated, challenged or find connections to an existing practice
Software modernization and cloudification using the ARTIST migration methodology and framework
No full textCloud computing has leveraged new software development and provisioning approaches by changing the way computing, storage and networking resources are purchased and consumed. The variety of cloud offerings on both technical
and business level has considerably advanced the development process and established new business models and value chains for applications and services. However, the modernization and cloudification of legacy software so as to be offered as a service still encounters many challenges. In this work, we present a complete methodology and a methodology instantiation framework for the effective migration of legacy software to modern cloud environments
The Duyfken off Australia, 1606 /
No full textTitle supplied by artist, see file R13/38497.; "The Dutch East India Company vessel 'Duyfken' sailed south from Batavia in 1606 to discover and partially map for the first time the coastline of northern Australia. The painting imagines the landfall in rough conditions at dawn somewhere in the Gulf of Carpentaria."--Supplied by artist, see file R13/38497.; Inscriptions: Signed "Ingpen 2011" in lower right corner.; Also available online at: http://nla.gov.au/nla.pic-vn6298505; Donated by the artist, 2013.; Papers of Robert Ingpen, 1961-1994; Located at; National Library of Australia Manuscript collection MS9141
Artist Praxis - Blue and Silver [Graham Lister on the Artist Praxis Podcast, October 26th, 2021]
No full textArtist Praxis is a podcast dedicated to illuminating the artistic process as a transformative and dialogical practice embedded in community. It is researched and presented by established artists and researchers Debora Faccion Grodzki and Sarah Arriagada, who are currently based in Germany and the USA.
In regular artist-led explorations, creatives across disciplines and from around the globe make meaning of their art-making. We share elevating and enlightening conversations on an artist’s newest piece, enabling open-ended investigations on all aspects of its creation.
In the October 26 episode, I spent 30 minutes talking about art, research and the practicalities of making the painting titled Blue and Silver. This work was part of the solo exhibition, ‘Touching Distance’ (RADAR output ID 7730). In the wide-ranging discussion, materials, methods, techniques and intentions were discussed with Grodzki and Arriagada, highlighting new insights into my ways of thinking through making.
‘Oscillating between alluring closeness and deceiving distance, the tightly knit weave of Graham Lister’s painting raises the question of what we are actually looking at… or through.
As we perceive the equal, rhythmic interactions of positive and negative space, fore and background, we realize that the artwork uses the visible architecture of the medium and the non-visible structures in and around it to come into being. The object acts as a stage set or a prop to signify beyond the image and towards the reality it exists in.’
Available through Apple podcasts, and via the Artist Praxis website
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