Sara’s Parlour Face Painting is a contemporary face and body art company based in Birmingham. Whipple, J. (2005). Music and multimodal stimulation as developmental intervention in neonatal intensive care. Music Therapy Perspectives, 23(2), 100. Japingka Aboriginal Art has been associated with Aboriginal art through its Directors for over thirty years. We are committed to fair and ethical trading in all our dealings with Aboriginal art and artists. Selected Artists: Works On Paper, Cava Gallery, Philadelphia, May-June 19, 1986. Offers an overview of the perceptual, cognitive, and neural bases of performing, composing, and listening to music. Topics include acoustics and biological processing of sound; theories and empirical research on pitch, rhythm, harmony, melody, timbre, orchestration; similarities and differences between music and language; evolution and development of musical ability; and special populations in musical functions. Meetings include laboratory demonstrations and exercises in experiment design and data analysis. Requires a final project (paper and in-class presentation). Ansdell, G., & DeNora, T. (2012). Musical Flourishing: Community Music Therapy, Controversy, and the Cultivation of Wellbeing. In R. MacDonald, G. Kreutz & L. Mitchell (Eds.), Music, Health, and Wellbeing (pp. 97-112). Oxford Oxford University Press. Hwang, E., & Oh, S. (2013). A comparison of the effects of music therapy interventions on depression, anxiety, anger, and stress on alcohol-dependent clients: A pilot study. Music and Medicine, 5(3), 136-144. Printmaking Module Introduction Prints have changed the course of history. They have worked for peace or for war, for God and for the Devil. Tyrants and political bosses have feared their power. Prints have pleaded the cause of the Reformation against the Popes, of the republic against the monarch. They have fought slavery and corruptions as they now fight war and pollution. The history of man’s aspirations can be revealed by leafing through a great print collection.1 The history of printmaking is the history of innovation in communication. Before the age of mass literacy, pictorial images played a particularly significant role in conveying ideas and traditions. Prints were relatively inexpensive and many people could afford them. Artists found, through the print, a means of increasing both their output and their audience. Because the printed picture was the potent mass communications tool of the times, there was a continuing need to reproduce images more accurately and efficiently. The demand spurred innovation in materials and techniques.2 In printmaking today, the original plate can be used to create a single image as a unique piece or to produce multiple copies. Careful planning in printmaking is mandatory since original plates, screens, etc., are used in successive steps to print images and the intended final product itself must be kept in mind at all time. Through the study of printmaking, students should gain both an understanding of the techniques involved in making different types of prints, and a sensitivity to the relation of techniques or medium to subject matter and expressive content. As in other two-dimensional areas, elements of shape, line, texture, and colour, plus the principles of design – unity, balance, emphasis, etc. – should play an important role.
McLeod, R. (2012). Evaluating the effect of music on patient anxiety during minor plastic surgery. Journal of Perioperative Practice, 22(1), 14-18. Die Hand des Künstlers. Exh. cat. Cologne: Museum Ludwig, 1991. Wigram, T., & Gold, C. (2006). Music therapy in the assessment and treatment of Autistic Spectrum Disorder: Clinical application and research evidence. Child: Care, Health and Development, 32(5), 535-542. The Marly Aqueduct by Alfred Sisley, 1874. This painting is in the Toledo Museum of Art. Image courtesy of WikiCommons. Shapes: Well-defined, distinct. Both organic and geometric shapes are repeated throughout the composition. Colour: Primary, bright, intense. Texture: The artist used both real and implied texture. Try to find examples of both. All customers and Artists need to follow these guidelines. Green, Theodora. Abstract Expressionism in Australia: American Parallels and Influences.” ART and Australia 23, no. 4 (Winter 1986): pp. 485-91. Clearly Twombly receives more attention in real life than David Lurie does in the fictional world. That said,Twombly is similar to Lurie. Twombly produces work that is oblivious to his own experiences and perhaps to his audience. I see little personal passion or experience in Twombly’s work. He manages to hide it or even bury it with themes that seem to go nowhere. Themes that his audience may not fully grasp. Take the 50 Days of Illiam at the Philadelphia Art Museum. This series on Homer’s Illiad on the surface could be taken as a bold step forward by such a contemporary modern artist. The problem is the finished product is entirely unrecognizable. Maybe ‘unrecognizable’ is the point of the project. Or is it? Is Twombly trying to state something by stating nothing at all? If not, does his art challenge your mental image of the Trojan War? Does it bring new perspective? Does it even offend? I don’t feel any of this when I look at his work. Expression is what connects us to one another. It is what makes us unique. By expressing emotion and feeling, we show our individual assets – our sensitivity, our tastes. We all, as human beings have amazingly unique personalities and we can learn about ourselves from responding to the expression of other people. By expressing yourself you can create fine art painting, for example. If you possess creativity, you definitely can make art. Be inspired by all the things around you, be spontaneous, be brave. The intimate, explorative exhibition at the New York Studio School exposes his complex interaction with a particular place and its shifting transient nature. Walker has often spoken about rejecting the picturesque in favor of primordial nature as represented by mud, dirt and water. In the region of Maine’s Seal Point and John’s Bay, he has found these necessary elemental motifs. At the edge of land and water, he has become immersed in the visceral experience of light, space and motion. There he has sought to bridge the atmospheric, volumetric world of matter and its equivalence in signs. Landscape thus becomes an arena not only to view the fleeting nature of the elements with its seasonal and biological cycles but also a vessel for thought and process within the context of various pictorial languages.
