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Researchers and artists reflect on the partnerships that have created career opportunities and forged a deeper public understanding of science. Researchers and artists reflect on the partnerships that have created career opportunities and forged a deeper public understanding of science., Author(s): Virginia Gewin Author Affiliations: How to shape a productive scientist-artist collaboration Seoul artist Yunchul Kim assembles his latest work, Chroma , a 15-metre-long structure of laminated polymer in the [...]

Scientists and artists are working together as never before, finds a Nature poll. Both sides need to invest time, and embrace surprise and challenge. Scientists and artists are working together as never before, finds a Nature poll. Both sides need to invest time, and embrace surprise and challenge., Author Affiliations: Collaborations with artists go beyond communicating the science Centerbeam : MIT's iconic art-science installation in 1977. Credit: Dietmar Löhrl/CAVS Special Collection, MIT Centerbeam installation Exhilarating, challenging, enlightening, stimulating, [...]

The study presents a simple method to predict the drawing performance of designers or artists by measuring the stability of their line drawings. An 8 x 3 two-way factorial design experiment with directions and phases was conducted to explore the most stable direction and phase among eight directions and three phases of line drawing. The scores of 40 participants' drawings rated by instructors were used directly as drawing performance. Correlations estimated relations of stability of the line drawing and drawing performance. Analyses showed 45[degrees] was the most stable direction, whereas the least stable was 135[degrees]. For each line drawing, the start was more stable than the middle and end phases. For drawing a plus sign (+), the horizontal line was more stable than the vertical line. When drawing a horizontal line, drawing rightward was more stable than drawing leftward; when drawing a vertical line, drawing downward was more stable than drawing upward. In general, drawing a multiplication sign (x) was similar to drawing a plus sign rotated counterclockwise with an angle of 45[degrees]. Line-drawing stability was positively correlated with drawing performance, so line-drawing stability could be used to predict drawing performance. The stability of the least stable direction was the most powerful predictor for assessing drawing performance. All subjects were design students, were right-handed, and drew with the right hand. Persons from other fields and drawing with the nondominant hand are interesting topics for further investigation.

Variations in the definition of artist, the relationship between artistic occupation and industry, and differentials in artists' self-employment rates and earning across cities are explored. It is concluded that artistic activity produces dividends for a regional economy in two ways, as current income streams and as returns to the region as a whole on past investments that can serve as a target of regional and local economic development policy.

This paper proposes a production function for artistic output in which quantity and quality of output are specified as joint products from the inputs of labour and capital provided by individual artists. A model is constructed specifying the quantity of creative and commercial output and the quality of creative output as a function of inputs of labour time and of physical and human capital. Included in the latter is a variable to account for the contribution of creative talent to an artist's human capital. The model is estimated for a sample of practising professional visual artists and craftspeople in Australia. The results suggest that a model along the lines indicated may be taken as a plausible representation of the artistic production process. Key words: artistic output, creativity, production function, talent

Artists have been signing their work since the Renaissance period, sometimes by placing there a name or a monogram in a conspicuous place, and sometimes by hiding it so the viewer has to search for it. The meaning and purposes for signing their signatures are provided.

1. We are not artists, and we are certainly not 'art critics.' We are producers, people who produce. We are Not authors either, for we believe that all ideas ON [...]

To chart the expanding parameters of fabrication today, Artforum invited curator Lynne Cooke, artists Angela Bulloch and Charles Ray, and art dealer Jeffrey Deitch to enter into a conversation with [...]

A complementary relationship exists between visual arts and music. Musicians' reference to colors and visual artists' quest for a melodic tone in their works manifest their shared common concerns. Improvisation in both arts and music enhances appreciation of the work. Artists are sometimes indecisive on the best medium to express their ideas, but satisfaction can be achieved either in one form or in all forms of artistic endeavor such as visual arts and music.

Several artists draw inspiration from jazz musicians whose music aims to give listeners a picture of life's beauty. Charles Mills' 'Portraits in Jazz' series were exhibited at the Gallery Antigua in Miami, FL. He remains to be a lover of jazz music since he started his career as a medical illustrator at the Veterans Administration Hospital in Brooklyn, NY. Anthony Barboza gave tribute to jazz artist Miles Davies in his work, 'Jazz Series.' He also compiled photographs of the musician in a book entitled 'So What.'

Artists sometimes make mistakes in their work, and sometimes these mistakes can open a vista to a number of new possibilities. Many mistakes may never be known, but some that are known include a flawed Robert Rauschenberg print that won a prize, and the accidental discovery by Man Ray of 'rayographs.'

Renaissance artist Giovanni Battista Armenini wrote down his aesthetic theory in a book entitled 'Dei Veri Precetti della pittura.' The book also contains a discussion on how artists must retain their dignity in the face of the patronage system existing in Renaissance Rome. Armenini also commented on the way young artists were discouraged by how art was taught and how patrons failed to recognize good art.