Piet Mondrian (born March 7, 1872) was a Dutch painter who played a pioneering role in bringing art forms, such as ‘Neo-Plasticism’ and ‘Cubism,’ into limelight. The purpose of this study was to examine the effect of visual and kinesthetic prompts on the auditory processing of students with moderate and severe hearing losses. Auditory processing was examined under the following four conditions: (1) listening only, (2) listening with visual prompts, (3) listening with kinesthetic prompts, and (4) listening with both visual and kinesthetic prompts. Spies, Werner. Reduction as Opposition: Ellsworth Kelly’s Response to Minimalism.” (Original as Reduktion als Widerstand,” Frankfurter Allegemeine Zeitung, February 5, 1983). Reprinted in The Eye and the Word, vol. 8, Between Action Painting and Op Art. New York: Abrams, 2011: 101-108. There are also German and French editions of this volume. Gina Fairley is ArtsHub’s National Visual Arts Editor. For a decade she worked as a freelance writer and curator across Southeast Asia and was previously the Regional Contributing Editor for Hong Kong based magazines Asian Art News and World Sculpture News. Prior to writing she worked as an arts manager in America and Australia for 14 years, including the regional gallery, biennale and commercial sectors. She is based in Mittagong, regional NSW. Phillips, Lisa. Vital Signs – Organic Abstraction from the Permanent Collection. Exh. cat. New York: Whitney Museum of American Art, 1988: 10, 47. Shapes: Shapes are mostly geometric and not necessarily representational. Look at the upper left shoulder of the vase. Shapes are not usually defined by line but by one value of charcoal meeting another. Line: Line is the darkest value in this drawing. Many of the lines are soft and curving. Sometimes line confirms edges or contours, but other times it connects positive and negative shapes, interweaving them. Texture: The texture of the paper is evident. Where the charcoal has not touched the surface of the paper, the paper colour is evident. Images of ancestors of the father of the household, the paterfamilias, in wall paintings, floor mosaics, statue collections, and other media were joined in late antiquity (as before) by mythological figures as well as philosophers and other wise men from history, images that established such figures as the householder’s ideal precursors.Vessey (ibid., 258) dubs late antiquity the age of portraits and the ‘biographic’”; for another perspective that helped shape the present project, see P. Cox, Biography in Late Antiquity: A Quest for the Holy Man (Berkeley, CA, 1983). On visual references to self-selected precursors as a notional patrimony” in a variety of media in domestic settings as well as emulation of precursors, see I. Uytterhoeven, Know Your Classics! Manifestations of ‘Classical Culture’ in Late Antique Elite Houses,” in Faces of Hellenism: Studies in the History of the Eastern Mediterranean (4th Century B.C.-5th Century A.D.), ed. P. Van Nuffelen (Leuven, 2009), 312-42, phrase at 328. On the relation of hangings to paintings and open-ended commentary on both household and householders, see Thomas, Material Meaning.” All served as exemplars for the householder and, especially, for younger members of the household. In this light, the program of Chapel LVI was traditional in combining portraits of illustrious ancestors of the household with virtuous men (and women) of the past, in this case incorporating biblical and subsequent Christian history into local monastic history.Bergmann, Roman House,” 225-26 and passim. On mythological painting in the tablinum in relation to the the salutatio and on the continuation of this tradition from the early imperial period up to late antiquity, see Z. Newby, Greek Myths in Roman Art and Culture: Imagery, Values and Identity in Italy, 50 BC-AD 250 (Cambridge, 2016), especially chaps. 2-5.
Dunne, Aidan. A Playful Style of Innovation” (Rubicon Gallery exhibition review). The Irish Times, 22 November 2006. WLFP offers temporary henna body art to stain the skin with gorgeous and unique designs. This is a truly unique service to introduce to your guests at upcoming events. American artist Betsy Eby, whose work is included in the Art in Embassies exhibition at the residence of Ambassador Ebert-Gray in Port Moresby, traveled from Columbus, Georgia, to Port Moresby, Papua New Guinea, and Honiara, Solomon Islands, to conduct a series of artist exchanges with artists in both cities. The goal of this cultural exchange was to demonstrate and encourage female empowerment through art. Zimmer, William. ” Ellsworth Kelly: Leo Castelli.” (New York) Arts Magazine vol. 51, no. 8 (April 1977): 34. Goodman, Cynthia. Hans Hofmann (includes artist’s statements). Modern Masters Series 10. New York: Abbeville Press, 1986. Numerous other music styles were used in the experiments, ranging from Indian ragas 22 played on a flute ( Gupta and Gupta, 2005 ; Deshmukh et al., 2009 ), nature sound compositions ( Ashida, 2000 ; Chang et al., 2008 ), meditative ( Chan et al., 2010 ), or slow rhythm music ( Chan et al., 2012 ), to lullabies ( Chang et al., 2008 ), pop or rock ( Kim et al., 2006 ; Erkkilä et al., 2011 ), Irish folk, Salsa, and Reggae ( Koelsch et al., 2010 ), only to name a few. As far as we were concerned all those genres mentioned above would present interesting approaches for future research. Due to a relatively small number and simultaneously wide-ranging variety, more thorough investigations are needed, though. These should be examined independently. As far as the above-mentioned music genres, other than classical, percussion, or Jazz were concerned, no indication for a preferable combination was observed. Teut, M., Dietrich, C., Deutz, B., Mittring, N., & Witt, C.M. (2014). Perceived outcomes of music therapy with Body Tambura in end of life care – A qualitative pilot study. BMC Palliative Care, 13(1), 1-6. No study conducted in India has investigated the role of music therapy on dementia. 50 Next Most Collectible Artists.” Art + Auction (June 2012): 109, illustrated. Few are not familiar with Leonardo da Vinci’s magnum opus, the Mona Lisa, also known by some as the La Gioconda. Debatably the most famous painting in the world, the 16th century work of art depicts a woman clad in the Florentine fashion of her day and seated in a creative, mountainous landscape. Most seem to agree that what is most striking about the portrait is Mona Lisa’s mysterious expression, which seems both captivating and, at the same time, aloof.
Rhythm”, by its simplest definition reflects the dynamics of musical time. The origin of the perception of rhythm can be traced back to the heartbeat that a child receives in the womb. The socio-behavioural impact of rhythm is said to be manifested in dance designed to boost our energy levels in order to cope with a fight or flight response. It can be said that perceiving rhythm is the ability to master the otherwise invisible dimension, time. An exhibition at the National Portrait Gallery explores the fifty-year career of singer-songwriter Mick Jagger and the iconic rock band, The Rolling Stones. Also called a biographical outline, a chronology is often included in artist monographs, solo exhibition catalogues, and catalogues raisonnés. Many formats are possible. In writing a chronology, it is important to decide on a particular approach and then use it consistently. It is also helpful to decide what kinds of information to include and exclude. If there is limited space, information readily at hand elsewhere in the volume (for example, in an exhibition history) as well as material of secondary importance may easily be omitted. The intention of a chronology is primarily to trace the artist’s development, not necessarily to list all of the artist’s accomplishments and activities. Stuart Buchanan generally works in the traditional medium of oils. His paintings are representational, with figures set in richly textured, colourful ambiguous landscapes. His work depicts images of figures, usually imagined and anonymous, in painterly landscapes. He seeks to invoke a positive response in the viewer, be it a smile or the triggering of a personal memory, via strangely familiar scenes, reminiscent almost of snapshots or memories in a personal history. An imaging experiment in 2001 by Anne Blood and Zatorre of McGill sought to better specify the brain regions involved in emotional reactions to music. This study used mild emotional stimuli, those associated with people’s reactions to musical consonance versus dissonance. Consonant musical intervals are generally those for which a simple ratio of frequencies exists between two tones. An example is middle C (about 260 hertz, or Hz) and middle G (about 390 Hz). Their ratio is 2:3, forming a pleasant-sounding perfect fifth interval when they are played simultaneously. In contrast, middle C and C sharp (about 277 Hz) have a complex ratio of about 17:18 and are considered unpleasant, having a rough sound. Daykin, N. (2007). Context, Culture and Risk: Towards an Understanding of the Impact of Music in Health Care Settings. In J. Edwards (Ed.), Music: Promoting Health and Creating Community in Healthcare Contexts (pp. 83-104). Newcastle: Cambridge Scholars.
If you’re always listening to music, it’s safe to say that you’re a big fan. However, if you find it hard to remove your earphones from your ears or feel incomplete without them on, you could say that you have an addiction. The human response to music is well documented throughout history. Research into the physical effects of listening to familiar music and the topic of music addiction is fairly new, however. Dopamine release is commonly associated with a human response to the fulfilment of needs. This type of brain activity is a hard-wired survival mechanism. When most individuals really like a song, they experience chills and a high” of sorts, which may give them a lot of energy and a pleasurable feeling. Those who put songs on repeat all the time want to re-experience those sensations over and over again. Dopamine and endogenous opioid pleasure and reward system within the nucleus accumbens are activated by music, the same system that plays a role in underlying pleasurable reactions caused by food, drugs and sex. Edinburgh’s Open Eye Gallery is exhibiting two shows by appointment only during August, including a solo show by popular and acclaimed landscape artist Barbara Rae. Worth, Alexi. Thomas Nozkowski, Max Protetch” (exhibition review). Art News (November 1997): 227, illustrated. Abstract Expressionist art invites artist and viewer to meet. While the artist expresses their emotions and conveys a sense of their presence in the work, the viewer’s perception is the final component in the mix. Abstract painting confronts you”, Pollock said in 1950. As the Rothko Chapel in Houston exemplifies, the intensity of this encounter can be heightened by the way the work is displayed. Research suggests music can influence us a lot. It can impact illness, depression, spending, productivity and our perception of the world. It is emphasized that since music can have influence just as with television or the Internet, it follows that it can have a destructive influence if misused. Some research has suggested it can increase aggressive thoughts, or encourage crime. Recently, a UK study explored how drill” music — a genre of rap characterized by threatening lyrics — might be linked to attention-seeking crime. That’s not new, but the emergence of social media allows more recording and sharing. The content of these songs is about gang rivalry, and unlike other genres, the audience might judge the performer based on whether he will follow through with what he claims in his lyrics, writes the study’s author, Craig Pinkney, a criminologist and lecturer at the University College Birmingham, in the UK.
Painting As Percept (exhibition catalogue). Text by Anita Feldman. New York: Ericson Gallery, 1980: illustrated. A rare exhibition of Geoffrey Clarke’s striking abstract prints, often overshadowed by his primary work as a sculptor. Barron, Stephanie. Matisse and Contemporary Art.” Arts Magazine vol. 49, no. 9 (May, 1975): 66-67. Magee, W., & Burland, K. (2008). An exploratory study of the use of electronic music technologies in clinical music therapy. Nordic Journal of Music Therapy, 17(2), 124-141. Thaut, M.H., McIntosh, G.C., & Hoemberg, V. (2015). Neurobiological foundations of neurologic music therapy: Rhythmic entrainment and the motor system. Frontiers in psychology, 5, 1185. Naves, Mario. A Show of Shows: Nozkowski’s Masterful Conundrums” (Max Protetch Gallery exhibition review). The New York Observer, 13 March 2000: illustrated. Hunter, Sam. Hans Hofmann (includes artist’s statements). With reprints of essays by Hofmann: Plastic Creation” (1932), pp. 35-38; The Search for the Real in the Visual Arts” (1948), pp. 39-43; The Resurrection of the Plastic Arts” and The Mystery of Creative Relations” (1954), pp. 44-45; The Color Problem in Pure Painting—Its Creative Origin” (1955), pp. 46-48; Sculpture” (1933), pp. 49-51. New York: Harry N. Abrams, 1963. Octavia Art Gallery presents their first solo exhibition with Louisiana-based artist Debbie Fleming Caffery. Southern Work will bring together two distinct series that have been pivotal subjects for Caffery throughout her career as well as a recent project inspired by her grandchildren. Kornhauser, Elizabeth Mankin and Erin Monroe. American Moderns on Paper – Masterworks from the Wadsworth Atheneum Museum of Art. Exh. cat. Hartford, CT: Wadsworth Athenuem Museum, 2010: 199-201. Davy Brown was born in Kilmarnock in 1950. As a young Scottish artist Davy studied contemporary art at the Glasgow School of Art under David Donaldson and Duncan Shanks. He then went onto complete teacher training at Moray House Edinburgh. Art Institute of Chicago, IL. The Mr. and Mrs. Joseph Randall Shapiro Collection. 23 February – 14 April 1985. Catalogue with texts by Joseph Randall Shapiro, Katherine Kuh, and Dennis Adrian. Second Nature: Abstract Paintings and Drawings, Proctor Art Center, Bard College, Annandale-On-Hudson, New York, April 5-18, 1984. Wigram, T. (2002). Indications in music therapy: Evidence from assessment that can identify the expectations of music therapy as a treatment for autistic spectrum disorder (ASD); Meeting the challenge of evidence based practice. British Journal of Music Therapy, 16(1), 11-28.