Jackson Pollock, a great American painter of the 20th century, established a distinct way of painting that produced a major impact on the world of art. This presentation presents concepts from Dr. Miller’s (June 2011) book, Bio-guided Music Therapy (Jessica Kingsley Publishers, London) Dr. Miller provides the music therapy practitioner with a rationale, historical context and detailed step-by-step, how-to instructions for utilizing real-time physiological data driven music therapy. Interventions are outlined for various purposes and populations. Some of the target complaints discussed include, stress, anxiety, high blood pressure, Raynaud’s disease, neuromuscular deficiencies, ADHD, Autism, depression, phobias, and addictions. In the workshop format, this session delivers hands-on experience in creating musical environments based on real-time physiological output of muscle tension, heart-rate, skin conductance and EEG brainwaves. Dr. Miller views biofeedback as the ultimate bridge between Eastern and Western healing philosophies. Names of artists and places are in SMALL CAPITAL LETTERS. The caves which have sheltered this, and many other primitive Paleolithic paintings for around 17,300 years, was first re-discovered in the 1940s at Lascaux in the Dordogne region of France. These days the caves are closed to the public in an effort to protect the images from damage caused by strong lights, moisture and mould. We are fortunate, however to have good quality photographs of these early works, and it is amazing how brilliantly the primitive artists captured movement and speed with a few simple marks daubed on a cave wall using little more than fingers, sticks, and home-made pigments. Tsiris, G. (2013). Voices from the ‘ghetto’: Music therapy perspectives on disability and music (A response to Joseph Straus’s book Extraordinary Measures: Disability in Music). International Journal of Community Music, 6(3), 333-343. Hahna, N.D., Hadley, S., Miller, V.H., & Bonaventura, M. (2012). Music technology usage in music therapy: A survey of practice. The Arts in Psychotherapy, 39(5), 456-464. In addition to Red Rag Scottish Art Gallery Joe Hargan art work has been exhibited at other leading Scottish Art Galleries. Each painting at Red Rag is sourced from the Joe Hargan artist studio and like all Red Rag British art and Contemporary art it can be shipped worldwide. Cleveland Museum of Art, OH. Modern Masterworks on Paper from the Israel Museum, Jerusalem. 13 June – 29 August 1999. Catalogue edited by Meira Perry-Lehmann. Roberts, M., & McFerran, K. (2013). A mixed methods analysis of songs written by bereaved preadolescents in individual music therapy. Journal of Music Therapy, 50(1), 25-52. Book Art, Woodstock Artists Association, New York, September 27, 2017-January 5, 2018.
Davis, G., & Magee, W. (2001). Clinical improvisation within neurological disease – Exploring the effect of structured clinical improvisation on the expressive and interactive responses of a patient with Huntington’s Disease. British Journal of Music Therapy, 15(2), 51-60. National Gallery of Art, Washington, DC. Twentieth-Century American Art: The Ebsworth Collection. 5 March – 11 June 2000. Traveled to the Seattle Art Museum, WA, 10 August – 12 November 2000. Catalogue with text by Bruce Robertson. Fachner, J., Gold, C., & Erkkilä, J. (2013). Music therapy modulates fronto-temporal activity in rest-EEG in depressed clients. Brain Topography, 26(2), 338-354. The Ministry of Culture and the Stella Art Foundation are organizing this year’s Russian Pavilion at the 54th International Art Exhibition – la Biennale di Venezia. Singular Expressions: A Sheldon Invitational (exhibition catalogue). Text by Janice Driesbach, et al. Lincoln, Nebraska: Sheldon Memorial Art Gallery and Sculpture Garden, University of Nebraska, 2005. Dreamscapes. Exh. cat. The Pulitzer Foundation for the Arts, 2011. Concurrently, The Bowdoin College Museum of Art will feature six large scale drawings in the exhibition John Walker: A Painter Draws , on view May 18 – August 20. Lowis, M.J. (2010). Emotional responses to music listening: A review of some previous research and an original, five-phase study. Journal of Applied Arts and Health, 1(1), 81-92. The declarative stripes and zigzags that populate Walker’s recent works, made with emphatic, nested strokes of a loaded brush, can be read in many ways. They announce the abstractness of the picture, asserting its existence as a confrontational object with their generous scale and unabashed geometry. For anyone aware that Walker’s history includes an extended sojourn in Australia, the repetitive, varied patterns of the stripes and angles might provoke associations with Aboriginal or tribal art of the Pacific, which sometimes had repercussions in his earlier work. But these elements take on other meanings, in relation to coastal Maine. The insistent but irregular rhythms of the nested stripes can be seen as graphic versions of the changing rhythms of how the ocean meets the shore, as waves or tide, while the dizzying repetitions of the strokes can be interpreted as distillations of the hypnotic effect of breakers. And more. Or less. The Phillips Collection has chosen two different words — riffs and relations — for the title of a new exhibition that traces the influence of modernism on African American artists in the 20th and 21st centuries. Riffs†suggests something that is spontaneously inspirational, a jumping-off point for elaboration or development of a modernist idea or image; relations,†a wide-open term full of ambiguity, gets at the deeper problem of tracing influence, both negative and positive.
