American contemporary artist, Jasper Johns, Jr., was born on May 15, 1930, in Augusta, Georgia. Five years later, combining a daring design with the richest materials the Empire could offer, the third – and final – Hagia Sophia was dedicated by Justinian at Christmas in 537. It is said that he uttered “Solomon, I have surpassed you” at the opening of the new church. Indeed, Hagia Sophia was a latter-day Temple of God. Its full name in Greek was Ναός της Αγίας του Θεού Σοφίας, Naos tēs Hagias tou Theou Sophias, which means “Shrine of the Holy Wisdom of God” (thank you Wikipedia). In the form Justinian gave it Hagia Sophia was much larger, more beautiful and daring than the Temple in Jerusalem, even the second marble temple built by Herod. Was he relieved to see the project done, was he satisfied with the results? What he said at the opening of the church seems like genuine amazement and pleasure at what he had accomplished. Kline’s early art consisted of paintings of cityscapes and landscapes of New York, murals and portraits were also part of his early efforts and there was a tinge of Expressionism evident in his works. It was during this time in the late 1930s that he acquired two patrons from whom he received tremendous encouragement and support – Dr. Theodore J. Edlich, Jr. and David Orr. During this period Kline received awards in the National Academy of Design annuals, but his more mature and representative style developed in the late 1940s after his meeting with other abstract expressionists; Willem de Kooning and Jackson Pollock. Kline’s style basically consists of bold strokes of black and white enamel. This black and white style would be revealed to the world in his first solo exhibition at New York’s Egan Gallery in 1950. Indeed, it was his black and white paintings he is known famously for, although he also worked on colour paintings since the mid 1950s and colour began appearing more consistently in his paintings after 1959. His first solo exhibition followed soon after and would associate Franz Kline with Abstract Expressionism forever. There’s a fictional narrative that runs through Sahej Rahal’s body of work. Or rather, as he says, he’s essentially expanding mythology in which fictional civilizations are unfolding in our reality”. A graduate of the Rachana Sansad in Mumbai, Rahal had a celebrated start, receiving the Forbes Award for Debut Solo Show in 2014. Using found objects that have a lived history in the world we inhabit”, from a spoon to industrial debris, he creates large creatures in his installations. He himself will describe them with glee as weird”, absurd” , scary nightmares”, with which he wants people to interact. It’s a more productive mode of engagement with history than if it were to seem that the artist was imparting knowledge, he says. Within this narrative, these beings perform absurd acts in derelict corners of the city, transforming them into liminal sites of ritual,” says Roobina Karode. Rahel, who considers writer Jorges Luis Borges a guru—essentially for the way in which he cocks a snook at readers—is driven by a sense of fun. For instance, he created a didgeridoo out of a PVC pipe and performed with it. He directly references the movie series Star Wars in some works, as much for the fact that it was a part of his life while he was growing up as to confront snooty notions of the canons of history that are allowed to be referred to. Rahel’s work Frozen World Of The Familiar Stranger, which takes off from an essay on urban anonymity, is currently part of a group show at Khoj Studio in Delhi.
Hollis Taggart Galleries, New York. Pathways and Parallels: Roads to Abstract Expressionism. 12 April – 12 May 2007. Catalogue by Jeffrey Wechsler. The Artist in America (includes artist’s statements). Compiled by the editors of Art in America. Excerpt from Hofmann’s address at the 1941 symposium at the Riverside Museum in New York, pp. 197-98. New York: W.W. Norton, 1967. Kutner, Janet. A ‘Classic’ Buy: FW Art Museum Acquires a Hans Hofmann Abstract.” Dallas Morning News, 7 May 1987. Haskell, Caitlin. Just Looking.” Georgeous – What is Gorgeous? Seductive. Grotesque. Austere. Brazen. Exh. cat. San Francisco: Asian Art Museum of San Francisco, 2014: 103-106. Falk, Peter Hastings, ed. Who Was Who in American Art, 1564-1975: 400 Years of Artists in America. Vol. 2. Madison, CT: Sound View Press, 1999. Domingo, Willis. In the Galleries – Ellsworth Kelly (Sidney Janis).” Arts Magazine vol. 46, no. 3 (December, 1971-January, 1972): 60. Each painting tells a story and contains endless details and something new to explore with every glance. Ritchie Collins’ paintings have wide appeal and there is an understandable growing demand for his art works. In addition to Red Rag Gallery his paintings have been exhibited in the UK and Internationally. Collins work is now in many private art collections. In addition to Red Rag Scottish Art Gallery Alma Wolfson art work has been exhibited at other leading Scottish Art Galleries. Each painting at Red Rag is sourced from the Alma Wolfson artist studio and like all Red Rag Scottish art and Contemporary art it can be shipped worldwide. Kootz Gallery, New York. Drawings in Color by Arshile Gorky. 23 January – 10 February 1951. impressed lines. Incised Lines: Very thin lines cut into the surface of a printing place, such as in etchings or woodcuts. Informal balance: An equal distribution of emphasis, or unity, of the various visual elements in a composition without the use of symmetry (see Formal Balance). Inking the Surface: The act of rolling, dabbing, or brushing the surface of a graphic plate with ink or paint. Intaglio Printing: A printing process in which ink lies in depressed areas below the surface of the plate; e.g., engraving. De Backer, J., & Van Camp, J. (2014). Music and Psychosis. The Answer From the Patient to Music Therapy: Für Elise! In J. S. Jos De Backer (Ed.), The Music in Music Therapy: Psychodynamic Music Therapy in Europe: Clinical, Theoretical and Research Approaches (pp. 72-90). London: Jessica Kingsley Publishers. Hawaiian flowers and lilies make for beautiful body art pieces and can be personalized to mean something special to you.
Cobbett, S. (2007). Playing at the boundaries: Combining music therapy with other creative therapies in individual work with children with emotional and behavioural difficulties. British Journal of Music Therapy, 21(1), 3-11. Yang, Y.H. (2016). Parents and Young Children with Disabilities: The Effects of a Home-Based Music Therapy Program on Parent-Child Interactions. Journal of music therapy, 53(1), 27-54. The AGO’s modern collection encompasses European and American art from 1900 to the 1960s. Forming the backbone of this collection are key gifts made by Sam and Ayala Zacks, the British sculptor Henry Moore, Angelicka and David Littlefield, and the AGO’s pioneering Women’s Committee. Potvin, N. (2015). The role of music therapy and ritual drama in transformation during imminent death. Music Therapy Perspectives, 33(1), 53-62. McClean, S., Bunt, L., & Daykin, N. (2012). The healing and spiritual properties of music therapy at a cancer care center. Journal of Alternative and Complementary Medicine, 18(4), 402-407. Provincetown Art Association and Museum: The Permanent Collection. Essays by Tony Vevers and Kathryn Smith. Provincetown, MA: Provincetown Art Association and Museum, 1999. Vogel, Carol. True to his Abstraction.” The New York Times (January 22, 2012): 1, 23. Fig. 7b. Portraits of martyrs, north wall of Chapel LVI (opposite entrance), Monastery of Apa Apollo at Bawit, 6th-7th century, wall painting. J. Clédat, Le monastère et la nécropole de Baouît” (Cairo, 1999), 166, fig. 145. John Walker (b. 1939) is British born American abstract painter whose work is inspired in part by observation of the landscape and sea. He has had numerous exhibitions both domestically and abroad. Walker studied at Birmingham College of Art, The British school in Rome, and the Académie de la Grande Chaumière, Paris. John Walker was a Gregory Fellow at Leeds University. He was awarded a Harkness Fellowship to the United States (1969-70) and a Guggenheim Fellowship in 1981. He has been artist-in-residence at Oxford University (1977-78), and at Monash University, Melbourne (1980). In the 1980’s he was Dean of Victoria College of Art in Melbourne, Australia. He is professor Emeritus of Art and former head of the graduate program in painting at Boston University School of Visual Arts, where he taught from 1993 to 2015. Butler, Barbara. Modern Classicism. Exh. cat. New York: David Herbert Gallery, 1960. Music touches every human being from infancy to adulthood. The power of musical sound can be the vehicle for expression of a wide variety of human emotions. And not only does music move us emotionally, it activates our intellect.
The first art schools were mentioned by Plato in 400 B.C. Art was taught in Europe through the Method system for centuries. Artists, like most guilds, took on apprentices who learned their trade. During the Renaissance, more formal training took place in art studios. Design was emphasized more than the fine arts, so schools of design were founded throughout Europe during the 18th century. In modern times, art education takes place across the generations in community-based institutions and organizations like museums, local arts agencies, recreation centers, places of worship, social service agencies, prisons, and schools. Chromolithography was invented by the poster artist Jules Cheret, automatic drawing was developed by surrealist painters, as was Frottage and Decalcomania. Gesturalist painters invented Action Painting. Pop artists introduced “Benday dots”, and silkscreen printing into fine art. Other movements and schools of modern art which introduced new painting techniques, included: Neo-Impressionism, the Macchiaioli, Synthetism, Cloisonnism, Gesturalism, Tachisme, Kinetic Art, Neo-Dada and Op-Art. The Atmosphere of ‘64. Exh. cat. Philadelphia: Institute of Contemporary Art, University of Pennsylvania, 1964. Pavlicevic, M. (2002). Fragile Rhythms and Uncertain Listenings: Perspectives from Music Therapy with South African Children. In J. Sutton (Ed.), Music, Music Therapy, and Trauma(pp. 97-118). London: Jessica Kingsley. Tucek, G., Heine, A., & Vogl, J. (2016). Neuroscientific and neuroanthropological perspectives in music therapy research and practice with patients in the field of neurorehabilitation. Nordic Journal of Music Therapy, 25(1), 77-78. Number 30 is housed in the Metropolitan Museum of Art in New York. Bradt, J. (2012). Randomized controlled trials in music therapy: Guidelines for design and implementation. Journal of Music Therapy, 49(2), 120-149. Nugent, N. (2003). Processes in group music therapy: Reducing agitation in individuals with Alzheimer’s disease and related disorders. The New Zealand Journal of Music Therapy, 60-81. A Forest of Signs: Art in the Crisis of Representation, Museum of Contemporary Art, Los Angeles, September 4-November 17, 1989; Whitney Museum of American Art, New York (organizer), December 15, 1989-January 12, 1990. Gallery Heinzel continues its 30th birthday year with an exhibition featuring the colourful work of Pam Carter. In the decade following 1940 Hofmann’s art has been completely abstract, his landmark painting; ‘Spring’ was completed in 1941. It was created by pouring and dribbling paint directly over the canvas. Critics considered the work to be influenced by the ‘Drip’ technique of the abstract expressionist Jackson Pollock. His second drip painting ‘The Wind’ was completed in 1941.
