Vincent Willem van Gogh or Vincent van Gogh or Van Gogh or Vincent Gogh, was one of the finest Dutch artists, who is also called as the father of Expressionism. Allan Stone Gallery, New York. Arshile Gorky: Paintings and Drawings. 14 November – 22 December 1972. Wigram, T. (1993). Music Therapy Research to Meet the Demands of Health and Education Services: Research and Literature Analysis. In M. Heal & T. Wigram (Eds.), Music Therapy in Health and Education (pp. 126-136). London: Jessica Kingsley. Brotons, M., & Martí, P. (2003). Music therapy with Alzheimer’s patients and their family caregivers: A pilot project. Journal of Music Therapy, 40, 138-150. Lois Dodd’s work has been the subject of numerous solo exhibitions throughout the United States, including Ogunquit Museum of American Art, ME (2018); Colby College Museum of Art, Waterville, ME (2014); Bowdoin College Museum of Art, Brunswick, ME (2004); Montclair Art Museum, NJ (1996); and Dartmouth College, Hanover, NH (1990). A retrospective organised in 2012 by the Kemper Museum of Contemporary Art, Kansas City, travelled to Portland Museum of Art, ME, the following year. From 1971 to 1992, Dodd taught at Brooklyn College, NY. She has also held positions at Skowhegan School of Painting and Sculpture, and Vermont Studio Center. Her work can be found in collections including The Art Institute of Chicago; Hall Art Foundation, Holle; The Metropolitan Museum of Art, New York; Museum of Fine Arts, Boston; The Museum of Modern Art, New York; Whitney Museum of American Art, New York; and Yale University Art Gallery, New Haven. In Autumn 2017, a major monograph was published by Lund Humphries. A new publication by Modern Art will be released on the occasion of the exhibition. Here’s a 60-second intro to the enigmatic work of Clyfford Still, one of the leading Abstract Expressionist painters. Why is he less known in the UK than the likes of Rothko and Pollock? The RA’s Artistic Director Tim Marlow explains. We regularly hold new exhibitions in the gallery. Music is a binding factor in our social milieu; it is a feature with and about us, a universal still shrouded in endless mystery. Music cuts across diverse cognitive capabilities and resources, including numeracy, language, and spacial perception. In the same way, music intersects with cultural boundaries, facilitating our social self” by linking our shared experiences and intentions. Perhaps one primordial influence is the social interaction of parental attachments, which are fundamental to gaining a foothold in the social milieu, learning, and surviving; music and song are conduits for forging links across barriers, for making contact with others, and for being indoctrinated with the social milieu.
Albright-Knox Art Gallery, Buffalo, NY. Abstract Expressionism: The Critical Developments. 19 September – 29 November 1987. Catalogue with texts by Michael Auping, et al. In addition to Red Rag Art Gallery Judith Bridgland art work has been exhibited at other leading Scottish Art Galleries. Each painting at Red Rag is sourced from the Judith Bridgland artist studio and like all Red Rag Scottish art and Contemporary art it can be shipped worldwide. Haskell, Barbara. Two Decades of American Sculpture.” 200 Years of American Sculpture. Exh. cat. New York: Whitney Museum of American Art, 1976: 187-213. Technology’s novelty, multimedia capabilities, and multi-facet interactions create intrigue and motivation to engage in music therapy, especially for certain clientele. In addition, for some clients, adaptive technology is the only access to independence and musical expression. Certain technology can also assist in the collection of quantitative data, an essential task in justifying music therapy in the research community. Overall, technology has the capacity to extend the reach of music therapy’s therapeutic benefits across wide-ranging populations and goals. Robarts, J., & Sloboda, A. (1994). Perspectives on music therapy with people suffering from anorexia nervosa. Journal of British Music Therapy, 8(1), 9-15. Yevgeniy Fiks explores conspiracy theories of American politics in his new exhibition Communist Conspiracy in Art Threatens American Museums at Temple University in Philadelphia, PA. Curated by Statima Gregory, the installation includes printed works on canvas, ink drawings, digital works on paper and sound, the artist continues to explore the themes of how communism and modernism are connected in contemporary history. Exhibition runs from 8 September – 6 November 2010. Modernism didn’t just stop, it was gradually overtaken by events during the late 1960s – a period which coincided with the rise of mass pop-culture and also with the rise of anti-authoritarian challenges (in social and political areas as well as the arts) to the existing orthodoxies. A key year was 1968, which witnessed the Tet Offensive, the assassinations of Martin Luther King and Bobby Kennedy, and street demonstrations throughout the capitals of Europe. As Modernism began to look increasingly old-fashioned, it gave way to what is known as “Contemporary Art” – meaning “art of the present era”. The term “Contemporary Art” is neutral as to the progressiveness of the art in question, and so another phrase – “postmodernism” – is often used to denote recent avant-garde art Schools of “postmodernist art” advocate a new set of aesthetics characterized by a greater focus on medium and style. For instance, they emphasize style over substance (eg. not ‘what’ but ‘how’; not ‘art for art’s sake’, but ‘style for style’s sake’), and place much greater importance on artist-communication with the audience.