Download and customize slideshows, worksheets, and other resources for use in the classroom or self-guided learning. Thomas Nozkowski: New Paintings, Max Protetch Gallery, New York, November 8-December 20, 2003. Bob, your observation is actually very astute. McCubbin’s painting of the bush are unique in the fact that he doesn’t just paint a landscape showing the horizon and various features. He seems to paint a story “within” the bush. It surrounds his subjects and makes the viewer feel like they are part of it. I am glad these paintings helped you relive childhood memories. Thanks for reading. Thompson, G., & McFerran, K.S. (2015). We’ve got a special connection”: Qualitative analysis of descriptions of change in the parent-child relationship by mothers of young children with Autism Spectrum Disorder. Nordic Journal of Music Therapy, 24(1), 3-26. In 2010 the Gemeentemuseum acquired Lee Bontecou’s bas-relief sculpture, Untitled (1960). The purchase sparked a desire to show this important work in the context of Bontecou’s rich and varied oeuvre. Although all stages of Bontecou’s artistic development are represented in the new exhibition at the Gemeentemuseum, the focus is not a chronological overview. Rather, it is centered on the coherent interconnections between works from different periods and in different media. Drawings made during Bontecou’s years in Greece and Italy in the late 1950s – never previously exhibited – are shown in relation to an imposing suspended sculpture from the 1980s. A reconstruction of a wall of drawings in her studio illustrates the vital role played by drawings in her artistic practice, both in their own right and as they relate to her sculptures. Carrie Secrist Gallery has focused on established contemporary artists, with a recently renewed interest in adding new, emerging artists to its roster. Among our favorite works the gallery has exhibited are Kim Keever’s water tank diorama photography; Megan Greene’s recontextualized Audubon prints and Anne Lindberg’s intricate colored pencil drawings. Robarts, J. (2006). Music therapy with sexually abused children. Clinical Child Psychology and Psychiatry, 11(2), 249-269. Grachos, Louis and Claire Schneider. Extreme Abstraction. Exh. cat. Buffalo: Albright-Knox Art Gallery, 2005. Freedman, Leonard, ed. Looking at Modern Painting (includes artist’s statements). New York: W.W. Norton, 1961. Ancient graffiti have traditionally been studied as brief texts, but that is only part of the information they communicate. I propose a more comprehensive approach that considers their content and form and situates them more firmly within their physical and social environment. Engaging more closely with the spatial context of graffiti informs us about the ancient use of space and the human activity within it. It also allows us to see what else, besides text, was inscribed on the walls of Pompeii. The concept of the dialogue offers a flexible model of inquiry and provides a fresh perspective for examining the numerous graffiti of a residential space. From number games to drawings to clever compositions of poetry, the graffiti of the House of Maius Castricius reveal wide participation and a strong interest in the act of writing, a popular activity here and throughout Pompeii.
Cummings, Paul. Abstract Drawings 1911 – 1981. Exh. cat. New York: Whitney Museum of American Art, 1982. Exhibition at Fashion and Textile Museum looks at the work of fashion photographers, both behind the scenes and front of house, at the world’s most important fashion shows. Krout, R. (2007). Music listening to facilitate relaxation and promote wellness: Integrated aspects of our neurophysiological responses to music. The Arts in Psychotherapy, 34(2), 134-141. Museum of Contemporary Art, Chicago, IL. Dada and Surrealism in Chicago Collections. 1 December 1984 – 27 January 1985. Catalogue titled In the Mind’s Eye: Dada and Surrealism with texts by Dawn Ades et al. In many cultures, there is less distinction between performing and listening to music, since virtually everyone is involved in some sort of musical activity, often in a communal setting. In industrialized countries, listening to music through a recorded form, such as sound recording on record or radio became more common than experiencing live performance, roughly in the middle of the 20th century. By the 1980s, watching music videos was a popular way to listen to music, while also seeing the performers. The inspiration for the Griffith Gallery show came after Lewis saw an exhibition of WPA era art at the Smithsonian Museum of American Art in Washington, D.C. At the time, Lewis knew Loran as the author of a famous book, “Cézanne’s Composition,” which was first published in 1943, and remained in print for over 60 years. Lewis had not known of his work as an artist before seeing a landscape in that exhibition. As a celebrated founding member of the conceptual art movement of the 1970s, Lawrence Weiner has inspired several generations of artists to explore the parameters of the traditional art object. Weiner employs the immediacy and universality of language to break down the barriers of art-historical precedents by inviting the viewer to interpret the work from his or her own personally relevant contemporary reality – without the influences of historical reference. First seen in the exhibition Embrace!, AS TO BE IN PLAIN SIGHT was installed on a dizzying wall on level four of the Hamilton Building. Today, it can be viewed as an outdoor work on the south wall of the North Building. This is the part of the brain that recognizes tactile or touch feedback. This sensory cortex controls tactile feedback while playing an instrument or while dancing. This can also occur while at a concert or a club and the speakers play so loud that the whole building shakes and you can feel the vibrations in your body. When this occurs, you are feeling the low frequency vibrations that occur in the music. In relation to people who are deaf, this would be the case. Often when hearing is damaged, it is more difficult for a person to hear higher pitches and softer sounds. So when music can be recognized through touch, feeling the vibrations, it is that much more pleasing to those that are deaf or hard of hearing.