Fine Arts Gallery Research Articles

Pengelolaan Museum Rudana Sebagai Daya Tarik Wisata Berbasis Kearifan Lokal Di Desa Peliatan Kecamatan Ubud Kabupaten Gianyar

Rudana Museum is an art museum located in Ubud, Gianyar, Bali and is used to exhibit and promote works of art in the form of paintings and sculptures by Balinese artists. Rudana Museum was founded by Nyoman Rudana, a painting collector who is also the owner of Rudana Fine Art Gallery and Genta Fine Art Gallery. Proper management is very important. This research will discuss how to manage Rudana Museum as a local wisdom-based tourist attraction in Peliatan Village, Ubud District, Gianyar Regency. The focus of this study focuses on three things, namely to determine the potential of Rudana Museum as a local wisdom-based tourist attraction in Peliatan Village, Ubud District, Gianyar Regency, how the management of Rudana Museum, and the implications for the community around Rudana Museum. This research is a type of research with qualitative methods and the determination of informants is done by purposive sampling. The results of the discussion show that Rudana Museum was founded on the basis of the idealism of its founder, Nyoman Rudana, where art is a universal thing, as a result, contributing to the process of harmonization between man and God (parahyangan), between man and man (pawongan) and man and the surrounding nature (palemahan) which is reflected in the Balinese philosophical concept of Tri Hita Karana, where art is very instrumental in helping to spread peace, prosperity and a sense of brotherhood among mankind worldwide. The management of Rudana Museum is based on the application of tourism management functions, namely (Planning, Organizing, Motivation, Actuating, Controlling). Rudana Museum also cooperates with other museums in Indonesia.

Application of metaphor and sustainable concepts in art gallery buildings in Jakarta

Indonesia is a country that has a diverse culture which is an art that has been formed by human civilization and where art is an emotion or expression of feelings towards the beauty that is seen or felt by the development of art galleries that can be exhibited or even sold by gallery artist from the country of origin. Welcome his work, and with this gallery building, art lovers can enjoy works that show beauty. Location of the buildings is an area that serves as a fine art gallery in central Jakarta, where the region can build fine art galleries. With the application of the metaphorical architecture concept on the sustainable building consideration, it would be an attraction in the modern era.

The Garden Palace: Building an Early Sydney Icon

The Garden Palace: Building an Early Sydney Icon

Innovative Arts Programs Require Innovative Partnerships: A Case Study of STEAM Partnering between an Art Gallery and a Natural History Museum

ABSTRACTThe arts animate learning because they are inherently experiential and because of their potential to develop creative and critical thinking skills in students. These same skills are valued in science, technology, engineering, and math (STEM) education, but the arts have not been consistently included in STEM lessons. We transformed our STEM programming into STEAM programming (STEM plus arts) by creating an innovative partnership between two informal learning environments, the Braithwaite Fine Arts Gallery and the Garth and Jerri Frehner Museum of Natural History at Southern Utah University. The partnership resulted in a STEAM learning program that integrated art and science for K-12 students. We incorporated an art exhibition, a hands-on lesson in art, and an immersive lesson in science that culminated in a student project that merged concepts from both art and science. Through programs each fall from 2012 through 2014, we helped over 6,000 students from southern Utah use concepts from art to deepen their understanding of caterpillar defenses, fish ecomorphology, and pollinator biology.

Life Cycle Assessments of Loans and Exhibitions: Three Case Studies at the Museum Fine Arts, Boston

This project grew from discussions concerning the environmental impact of museum and cultural institution activities. Life cycle assessment was the chosen tool to address pressing questions around this topic. Three life cycle assessment case studies were commissioned for this project. Case Study 1 considered the materials and environmental impact related to loan preparation and shipment of a single crate to two different venues. Plexiglas™ vitrines, gallery lighting, and climate controls were responsible for approximately one-third of the carbon emissions from the exhibition preparation phase. Crate and Plexiglas™ reuse as few as four times would significantly lower the loan carbon impact. The highest environmental impact of all loan phases proved to be the carbon foot print of the courier who travels two round trips for every loan round trip and has more than three times the impact of the art transport. Case Study 2 compared efficiencies of the cost and life cycle of halogen lamps with light emitting diode lamps in a single Museum of Fine Arts gallery. This study concluded that in addition to long-term cost savings, light emitting diode use results in lower environmental impact, lower eco-toxicity, and fewer human health indicators than halogen lamps. Case Study 3 addressed cost and energy savings resulting from the temporary shutdown of air handling equipment for one newly constructed gallery at the Museum of Fine Arts.

The first impression is what matters: a neuroaesthetic study of the cerebral perception and appreciation of paintings by Titian.

In this paper we measured the neuroelectrical and the eye-movements activities in a group of 27 healthy subjects during their visit of a fine arts gallery in which a series of masterpieces of the Italian painter Tiziano Vecellio (also known as Titian, 1488-1576) were shown. The pictures chosen for the visit were 10 portraits and 10 of religious subjects. Each picture was observed for a minute. A mobile EEG device with an eye-tracker was used for this experiment. Evaluation of the appreciation of the pictures was performed by using the neuroelectrical approach-withdrawal index (AW). High value of AW means high appreciation of the picture. The number of eye fixations performed by the subjects during the observation of the pictures was also analyzed. Results showed that in the examined group the AW index was significant higher during the observation of portraits than during the observation of the religious subjects (as resulted from an ANOVA performed on AW index, with a p<;0,007). Interestingly, the average AW index estimated in the first 20 seconds of the observation of the pictures remains highly correlated with the AW index evaluated for the second part of the data (from 20 s to one minute) for all the 20 pictures examined (r = 0,82, p<;0,0001). In addition, the number of eye fixations performed by the subjects in the first 5 or 10 seconds of observation of the pictures that were most appreciated are significantly higher than the number of eye fixations performed on pictures that subjects did not like (p<;0,048 and p<;0,0018, respectively). Such difference vanishes if the entire period of observation of the pictures of one minute is used (p = 0,54). Taken together, such results seem to suggest that the neuroelectrical correlates of the perception of "good" or "bad" pictures are rapidly formed in our brain, within the first 10-20 seconds from the exposition to the picture.

Slika Bogorodice s Djetetom u The Courtauld Institute of Art u Londonu - prijedlog za Petra Jordanića

Slika Bogorodice s Djetetom u The Courtauld Institute of Art u Londonu - prijedlog za Petra Jordanića

Not Me

Not Me Belinda Tran (bio) When I was first introduced to Ardine Nelson’s collaborative Women in Art project, I originally thought I would design my portrait to exemplify my artistic style. After a while I thought about the importance and impact of being a woman and an artist. I felt that the portrait should show qualities of being a female. With that in mind, once I obtained the large print of my portrait, I began brainstorming how best to portray both. I hit a mindblock while staring at the beautiful print. Something about its grandiose scale and incredible detail made it difficult to add anything on top that would obscure viewing the print’s details. Handcuffed by this, my smiling portrait hung on my wall untouched. About two months later I had a serious fight with my significant other. With tears and angry feelings raging inside me, I came home and saw the still-unmarked portrait. The image of my happy smiling self enraged me—the portrait mocked me, as it was no longer me at all. Bitterness and a detached feeling made me rip the portrait into pieces. I deliberately made sure to physically separate each part of myself, as if by separating the building blocks, I could reset who I was and what I was feeling. With the portrait in pieces the impossible barrier I felt lifted. I began moving the pieces around, constructing a new image by testing combinations based on shapes, lines, and gradients. This method felt much more natural to me as an artist. As a person it resonated with my belief that people are constantly changing and being reconstructed. Going along with this, I assembled the image and placed it upon and between magenta transparent sheets. The delicate but supportive structure helps hold the pieces together without obscuring the detail of the photo strips behind it. The final image, Not Me, speaks of what once was and what now is, with whispers of femininity and impermanence. [End Page 253] Click for larger view View full resolution Figure 1. Not Me, by Belinda Tran. [End Page 254] Belinda Tran Belinda Tran was born in Columbus, Ohio, in 1988. She received a BFA with an emphasis in art and technology from The Ohio State University in 2010. She has placed in several juried shows at the Silver Image Gallery. Her animation Tabula Rasa (2010) was shown in a group exhibition at the Wayne and Geraldine Kuhn Fine Arts Gallery in Marion, Ohio. Her 2D, 3D, and 4D artworks focus on sharing unique perspectives while provoking levels of community empathy. Tran deliberately utilizes a variety of mediums to increase the maximum potential of intercourse with her audience. She currently works at The Ohio State University creating animations for sporting events. Copyright © 2013 Frontiers Editorial Collective, Inc.

Mama/Reciprocal Energy: Reciprocity as an Agent of Identity Formation in the Works of Maria Magdalena Campos-Pons

Since immigrating to the United States in the early 1990s, Maria Magdalena Campos-Pons has garnered praise as one of the most important artists to emerge from post-revolutionary Cuba. Campos-Pons’ oeuvre bears witness to issues central to the experience of diaspora populations. On view for the first time, the exhibit “Maria Magdalena Campos-Pons: MAMA/RECIPROCAL ENERGY” at the Vanderbilt Fine Arts Gallery (October 12 – December 8, 2011) presents new works by Campos-Pons that attest to the ability of fragmented and seemingly dislocated elements of the artists’ lived experiences to coalesce into a multifaceted identity. The dynamic quest for selfhood demonstrated by the works rejects absolutes; rather, it fosters an interconnected network where issues such as gender, exile, dislocation, race, religion, and cultural memory play out in a reciprocal manner. This paper first establishes Campos-Pons’ early conceptual basis as an artist. What follows is an extensive exploration of the exhibit argued through a thematic dynamic that highlights the relationship of themes among and between the works. Finally, it suggests that while Campos-Pons’ conceptual basis retains its earliest formative notions, the shifting narrative that emerges from the exhibit and corresponding stylistic changes confirm the inclusion of the artists’ entire lived experiences in her artistic search for identity.

Complicating the Identity Narrative

The potential for individual experience each human carries is crucially unique, surpassing the increasingly categorical modes of identity that have become our covenant with human culture. While partially inaccessible to anyone else, the complex meaning each of us finds in this world is detectable to others through our interaction with that meaning. In our image-based contemporary world, meaning is expressed and gathered more and more through pictures. Photography remains an increasingly democratic medium of expression, documentation, and inibrmation dissemination, and the world is connected through an unending chain of images. We probably consume as many photographs in a day as we do calories, says Kitty Hubbard, an artist, an associate professor of Art at The College at Brockport: State University of New York, and curator of Regarding Place: Photo Media Invitational, an exhibition recently held at Brockport's Tower Fine Arts Gallery. Amid so much photographic noise, says Hubbard, the four exceptional artists included in this exhibition give us pause to consider and explore the many implications of the power of photo-based media. (1) In Regarding Place, diverse applications of the photographic image were used to explore issues of identity, and time. Transpiring within an academic context, the initial spark of active engagement generated by the exhibit was reignited within the gallery space through the month of February and into March. Hubbard designed an experience for students that included weekly Skype chats with the artists and a forum page dedicated to the exhibition on the as-yet uneclipsed social media force of Facebook. Angela Kelly's current body of work, shared in this exhibit, is a series of contemporary documentary photographs of places in Northern Ireland paired with diminutive portraits from the artist's own family album. Photographs resonate with me as repositories of history beckoning the viewer to a new understanding of place, explained Kelly's artist's statement. Catharsis: Images of Post Conflict Belfast 2010 11 connects the history of a place through the juxtaposition or modern urban and rural landscapes, their geographic coordinates, and traditional family portraits and snapshots taken by her father in Belfast in the 1960s. The private experience of the artist in these environs and their meaning exist only in the realm of memory--not quite tangible to t he viewer, but anchored for our exploration by each photographic pairing. The then-and-now groupings relate the personal and particular to a public aftermath of conflict, where psychic scars on the war-torn landscape remain for Kelly despite the fbrward march of time. In Bird's Eye View .f om The Black Mountain of the Peace Wall divide between the catholic and Protestant West Belliist and beyond (2010), an aerial shot of a suburban housing development is paired with a snapshot of a trio of seated ladies, each of whom bears stories associated with the space undetected by viewers of the landscape. In another shot, adolescent boys loiter amid towers of shipping pallets and mounds of tires under a heavy sky, and we wonder how their youth compares to that of the 1960s children in the smaller accompanying image. Kelly's oeuvre points at t he intangible meaning of tethered somewhere between the boundaries of what is seen, sensed, and remembered. [ILLUSTRATION OMITTED] The inner-outer dichotomy offered in i he works of Pinky Bass leads the viewer to regard the precious mysteries of the body in more conscious ways, amid increased cultural fixation upon all things skin-deep. In Zodiac Perceptions (2008), an installation of four colorful and plush organs made of fabric, crocheted silk, thread, and applied digital images representing the heart, lungs, uterus, and intestines were mounted to the wall, each with a looped strip of a series of photographs of bodies hanging below. …

The Grand Tour on Bond Street: Cosmopolitanismand the Commercial Art Gallery in Victorian London

The commercial fine art gallery first emerged in London in the 1850s and 1860s, and the recognizably modern gallery system quickly became the dominant force in the art market, overtaking the Royal Academy in both prestige and sales. While this expansion of the Victorian art market has generally been attributed to a new class of mercantile patrons and their commitment to the work of living British artists, many of these new gallery spaces explicitly tied their public identities to contemporary international art, regularly featured international art and publicized themselves as part of far-reaching international economic networks. In this essay, I examine the development of these new spaces for the consumption of modern art and their accompanying rhetoric of a multifaceted language of artistic, fashionable and mobile cosmopolitanism. I argue that their cosmopolitan appeal was central to their ability to carve out a reputable place in the art world and played a critical role in the creation of an audience for modern art.

ERRATUM

In the article by Kerry Heckenberg entitled “Thomas Mitchell and the Wellington Caves: The Relationship among Science, Religion, and Aesthetics in Early-Nineteenth-Century Australia” in Volume 33, Number 1 (2005), 203–18, the following phrase in the caption to Figure 20, p. 209, “from T. L. Mitchell, Three Expeditions into the Interior of Eastern Australia. 2nd ed. London: T. &amp; W. Boone, 1839,” should be deleted. The caption should read as follows: Figure 20. Thomas L. Mitchell, “Large Cavern at Wellington Valley, NSW.” Sepia sketch, c1830/1838. Courtesy of Ballarat Fine Art Gallery, Gift of Victor Fox, 1979.

Digging Deeper: Art Museums in Las Vegas?

Excerpt] Las Vegas has been called the “city of reinvention” (Douglass and Raento 2003). Part of its more recent reinvention efforts has included the opening of five fine-art venues. However, one of the art museums––the Las Vegas Guggenheim––was shut down in its first year due to low attendance; another, the Bellagio Fine Art Gallery, has seen attendance dwindle (Schemeligian 2004). The question addressed here is whether the museums are bringing the intended intangible benefits to the host resort, or whether the sales and attendance figures represent overall disinterest. More broadly one considers the potential “fit” between sin-city and the high-art cultural world. The difficulty in addressing these issues is that tourists might not consciously recognize the value they feel about having a worldclass art museum onsite. Within nonprofit research there has been a call for ‘‘deeper understanding’’ of tourists (Thyne 2001) as reflected within the greater interest in new qualitative methodologies (Riley and Love 2000). The Zaltman metaphor elicitation technique, a patented research method, was chosen to investigate this research issue. Many of the world’s largest companies (such as Procter & Gamble) have utilized this method for insight on brand meaning and competitive positioning.

Reading (il)legible Pages

Hall, who has contributed articles to this journal since its inception in 1996, was specifically invited by one of the issue editors to contribute an article on reading the apparently illegible as an application and extension of the approach developed in ‘Eluded Readings’ (see reference above). It is in many ways a companion piece to ‘Time-play-space’, though here the central issue is resistance rather than time. Both articles engage the visual qualities and materiality of text. Where the other article explores multiple modalities of time in relation to the material visual presence of writing, here there is an exploration of modalities of legibility. The issue also contains a companion piece, entitled ‘Reading a Polished Page’, which is a close reading of a photograph by the artist and performer, Tanja Dabo, also included in the issue. This appears in two formats: as a hand-written artist’s page and on the DVD that was included in the back cover. The main article includes two illustrative pieces, versions of which have been exhibited in three galleries, as part of an exhibition ‘Performance Writing (1994-2004)’ (Exeter Phoenix, 29/4-16/5/04; Dartington Gallery, 24-30/5/04; and the Fine Arts Gallery, George Mason University, Washington DC, 10-18/11/04).

The Importance of Downtown in the 21st Century

As captured in this painting by Margaret Caldwell, the Transamerica Pyramid in San Francisco is an icon of successful downtowns and one of the most recognizable buildings in the world. According to this Longer View essay by Donovan Rypkema, its uniqueness represents the distinction needed in the character of downtowns for U.S. cities to be competitive as we undergo economic globalization. Rypkema sees downtown revitalization, led by the differentiation afforded by meaningful buildings, as the spearhead of a successful economic survival strategy. The artist, who shows her work mostly in Los Angeles, holds a Bachelor of Fine Arts degree from USC and studied the techniques of representational painting of 19th-century artists in Florence, Italy. Her paintings, which often feature the urban landscape, are based in observation and are attempts to translate her visual experience of the world. Thanks to the Jernigan Wicker Fine Arts Gallery in San Francisco for their help in securing use of this image. The post-September 11 world is both dramatically changed and increasingly uncertain. But two factors on the horizon are assured: globalization and diversity. Globalization, however, has two facets: economic and cultural. Cities must learn to capitalize on economic globalization without being subsumed by cultural globalization. Cities must also deal with diversity on both the international and local levels. The downtown is a community's most effective venue to confront, learn from, and accommodate both globalization and diversity.

Inspired by migraine: Sarah Raphael's 'Strip!' paintings.

Inspired by migraine: Sarah Raphael's 'Strip!' paintings.

Northern Lights

Review| October 01 1999 Northern Lights Troubled: Photography, Film and Video from Northern Ireland, The Light Factory, Charlotte, North Carolina, September 12-November 1,1998 The Tire Shop, Raleigh, North Carolina, May 31-July 31,1999 Manbites Dog Theater, Durham, North Carolina, May 31-July 31, 1999 Center for Documentary Studies, Durham, North Carolina, May 7-July 31,1999 Wake Forest University, Fine Arts Gallery, Winston-Salem, North Carolina, August 25-September 26, 1999 Chuck Twardy Chuck Twardy Chuck Twardy, a former art and architecture critic for several newspapers in the southeast, lives and writes in Greenville, NC. Search for other works by this author on: This Site PubMed Google Scholar Afterimage (1999) 27 (2): 12. https://doi.org/10.1525/aft.1999.27.2.12 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Chuck Twardy; Northern Lights. Afterimage 1 October 1999; 27 (2): 12. doi: https://doi.org/10.1525/aft.1999.27.2.12 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentAfterimage Search This content is only available via PDF. © 1999 by The Regents of the University of California1999 Article PDF first page preview Close Modal You do not currently have access to this content.

Bringin' It All Back Home

PHOTO ESSAY Bringin' It All Back Home by Roland L Freeman with additional photo· by Robert T. Jones, Jr. top: Roosevelt "Booba" Barnes (1936—1996), center, electrifying the crowd on the seventh Delta Blues Cruise. Greenville, Mississippi, 1983. © 199J, Robert Tfones,Jr. previous page: Willie Foster. Greenville, Mississippi, 199-7. © 1997, Roland L. Freeman. 64 ROLAND L. FREEMAN Bo Diddley at the sixth Mississippi Delta Blues andHeritage Festival. Greenville, Mississippi, 1983.© 1997, Robert T. Jones,Jr. Bringin' ItAllBack Home 65 Muddy "Mississippi" Waters Musicians jamming at the sixth Mississippi Delta Blues and Heritage Festival. Greenville, Mississippi, 1983. C 1997, Robert T. Jones, Jr. 66 ROLAND L. FREEMAN Ijmnie Pitchford, left, playing bassforRobert "Jr." Lockwood, right, at thefourth Mississippi Delta Blues and Heritage Festival. Greenville, Mississippi, 1981. © 1997, Robert T. Jones,Jr. Bringin'ItAIlBack Home 67 Willie Dixon (191J-1992). Greenville, Mississippi, 1979. © 1997, Robert T.Jones,Jr. 68 ROLAND L. FREEMAN MississippiFife andDrum Bandatthe eighth MississippiDelta Blues andHeritage Festival, Othar Turner, JessieMae Hemphill, andAbe Young, leftto right. Greenville, Mississippi, 198;. © 1997, Robert TJones,Jr. B.B. King thanking hisfans.Jackson, Mississippi, 197j. © 1997, RolandL Freeman. 70 ROLAND L. FREEMAN Left to right Hammie Nixon (1908—1984), harmonica, ka^po, andjugplayer; Ms. Van Hunt, vocalist; andEugene Powell, guitarist at the secondMississippi Delta Blues andHeritage Festival. Greenville, Mississippi, 1979. © 1997, RolandL Freeman. Bringin'ItAIlBack Home 71 top: Luanda andEddie Cusic. IMand, Mississippi, 1997. © 1997, RolandL. Freeman. opposite: BigJoe Williams (1903—1982) at thefirst Mississippi Delta Blues and Heritage Festival. Greenville, Mississippi, 1978. © 1997, Roland L. Freeman. Bringin'ItAIlBack Home 73 Walter "Furry" lewis (1893—1981) at thefirstMississippi Delta Blues andHeritage Festival. Greenville, Mississippi, 1978. © 1997, Roland L Freeman. 74 ROLAND L. FREEMAN Utile Marcellus at thefirstMississippi Delta Blues andhleritage Festival. Greenville, Mississippi, 1978.© 1997, RolandL Freeman. Bringin' ItAllBack Home 7 5 BudSpires andJack Owens, top left to right, Alan Ijimax and Worth Long,foreground, at thefirst Mississippi Delta Blues andHeritage Festival. Greenville, Mississippi, 1978. © 1997, RolandL. Freeman. 76 ROLAND L. FREEMAN Jim Dickenson sings blues songs ofJimmy Rodgers at thefirstMississippi Delta Blues andHeritage Festival. Greenville, Mississippi, 1978. © 1997, RolandL. Freeman. Bringin' ItAllBack Home 77 Lynn White at the sixth Mississippi Delta Blues andHeritage Festival. Greenville, Mississippi, 1983.© 1997, Roland L. Freeman. ...

The Australian Supercomputer Graphics Exhibition and First International Conchology Conference

supercomputer images of shells growing in interesting shapes and developing murex-like spikes, in real time, on TV screens. In these sped-up representations of natural processes, shells grew from juveniles to adults in just a few minutes and in full digital color [1]. In response to an international competition, computer scientists and artists worldwide submitted computer-generated images of bioforms and seashells (movies as well as still images) for public display at the Griffith Fine Art Gallery in nearby Murwillumbah, where they were seen by tens of thousands of people during the course of the exhibition, which was held at the height of the nearby Gold Coast tourism season. During the course of this week-long conference and exhibition, the Tweed Shire Council held an official Civic Re-

Disappointing Images

Other| March 01 1987 Disappointing Images: Artists and The Apocalypse Disarming Images: Art for Nuclear Disarmament by Nina Felshin Adama Books (306 W. 38th St., New York, NY 10018)/72 pp./$14.95 (sb)Exhibition of the same title at the Contemporary Arts Center, Cincinnati, OH Sept. 14-Oct. 27, 1984 and at the University Art Gallery, San Diego State University, CA, Nov. 23-Dec. 22, 1984; Museum of Art, Washington State University, Pullman, WA, Feb. 11-March 3, 1985; New York State Museum, Albany, NY, March 24-June 2, 1985; University Art Museum, University of California-Santa Barbara, June 25-Aug. 4, 1985; Munson-Williams-Proctor Institute Museum of Art, Utica, NY, Sept. 1-29, 1985; Fine Arts Gallery, University of Nevada, Las Vegas, Jan. 5-Feb. 2, 1986; Baxter Art Gallery, California Institute of Technology, Pasadena, CA, March 2-30, 1986; Yellowstone Art Center, Billings, MT, April 29-June 9, 1986; Bronx Museum of the Arts, New York City, Sept. 11-Nov. 20, 1986 Mary Warner Marien Mary Warner Marien Mary Warner Marien teaches in the Fine Arts Department at Syracuse University. Search for other works by this author on: This Site PubMed Google Scholar Afterimage (1987) 14 (8): 8–9. https://doi.org/10.1525/aft.1987.14.8.8 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Mary Warner Marien; Disappointing Images: Artists and The Apocalypse. Afterimage 1 March 1987; 14 (8): 8–9. doi: https://doi.org/10.1525/aft.1987.14.8.8 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu nav search search input Search input auto suggest search filter All ContentAfterimage Search This content is only available via PDF. © 1987 by The Regents of the University of California1987 Article PDF first page preview Close Modal You do not currently have access to this content.