Hans Hofmann

The 20th century European Modernist, Figurative artist, Mark Zakharovich Shagal, or Marc Chagall was born Moshe Shagal on July 7, 1887 in Vitebsk, Belarus, the then part of the Russian Federation. The body painting he produced on her skin was incredible, an underwater theme of fish, coral, mermaids, plants and the blue sea. I was transfixed and in amazement that all you really saw was this beautiful painting and not the naked torso of a canvas. Consistent with hemispheric lateralization, there is evidence to suggest that the left and right hemispheres of the brain are responsible for different components of musical memory. By studying the learning curves of patients who have had damage to either their left or right medial temporal lobes, Wilson & Saling (2008) found hemispheric differences in the contributions of the left and right medial temporal lobes in melodic memory. Ayotte, Peretz, Rousseau, Bard & Bojanowski (2000) found that those patients who had their left middle cerebral artery cut in response to an aneurysm suffered greater impairments when performing tasks of musical long-term memory, than those patients who had their right middle cerebral artery cut. Thus, they concluded that the left hemisphere is mainly important for musical representation in long-term memory, whereas the right is needed primarily to mediate access to this memory. Sampson and Zatorre (1991) studied patients with severe epilepsy who underwent surgery for relief as well as control subjects. They found deficits in memory recognition for text regardless of whether it was sung or spoken after a left, but not right temporal lobectomy. However, melody recognition when a tune was sung with new words (as compared to encoding) was impaired after either right or left temporal lobectomy. Finally, after a right but not left temporal lobectomy, impairments of melody recognition occurred in the absence of lyrics. This suggests dual memory codes for musical memory, with the verbal code utilizing the left temporal lobe structures and the melodic relying on the encoding involved. Painting Abstraction, New York Studio School, March 2-April 8, 2000. Kaufmann, Ruth and John W. McCoubrey. Disparitia si reaparitia imaginii: picture Americana de dupa 1945. Exh. cat. Washington, D.C.: The Smithsonian Institution International Art Program, 1969: 36, 48-49, 81. Remington and Russell – as well as all the other great Western artists – captured the Wild West in full color before it began to vanish into history. I won’t say I haven’t missed the personal interaction we’ve grown accustomed to with our local K-12 audience, and I look forward to a time when we can once again, roll our art-carts through the doors of each local campus. But the OJAC Education Staff have been so proud to continue to serve our students and families in a way that is fun, educational and FREE during this challenging time.

Truth be told, I’m a little more interested in the engineering aspects of the installation than I am in the artistic. I’m fascinated about the scope, as you are. Imagine having the means and knowledge to create 100 iron casts of your own body, anchored into the earth as decorative heads of acupuncture pins that challenge the saying, “time and tide wait for no man”. If I had a little more time these days, I’d go investigating the engineering design and construction processes behind the work. This project will examine the short term memory skills for rhythmic reproduction in residents on a dementia unit during the summer 2011 semester. Previous work with residents on this dementia unit revealed their ability to replicate rhythm patterns modeled for them by initially learning those patterns and then by performing them over a four-week period, spontaneously demonstrating them over time when hearing the associated songs. Their performances demonstrated their ability for success in the arena of short term memory tasks and their retention skills for newly learned material. The current research on short term memory for people with dementia has focused on spontaneous rhythmic responses and on the effects of musical stimulation on aspects of cognition, language, and social interaction but not specifically on rhythmic memory. This project will further examine rhythmic tasks with respect to short term memory for people with Alzheimer’s Disease and related dementias and will include an opportunity to educate caregivers and significant others of people with dementia on how to engage them in meaningful interaction using music and rhythm and to encourage them to present new material to the people on the dementia unit. Uhlig, S. (2011). From Violent Rap to Lovely Blues: The Transformation of Aggressive Behavior through Vocal Music Therapy. In A. Meadows (Ed.), Developments in Music Therapy Practice: Case Study Perspectives (pp. 182-197). Gilsum, NH: Barcelona Publishers. The Guerilla Girls are an anonymous group of artists with an important message. This art collective meets activism group has spent the last thirty years vocally fighting racism and sexism in the art world. They do this by simply stating the facts – in this case that less than 5{81ba776f17fec9454490d7b8fbf4dc8c5c5020b4f83f6b2aaca6427b8ebffab5} of the artists in the Modern art section of the Metropolitan Museum in New York are women, but 85{81ba776f17fec9454490d7b8fbf4dc8c5c5020b4f83f6b2aaca6427b8ebffab5} of the nudes are female”. This poster has become a symbol of furthering female respresentation in art institutions. Unlike other artists who believed in spontaneity, Johns’ work was done with precision and a superb control, where he exactly knew what he wanted his work to look like. The artist relied on painting popular icons and images, which had left an indelible impression on his mind. In 1958, Jasper Johns had his first solo exhibition at the Leo Castelli Gallery, New York. He won the International Prize for his picture “The Grey Number.” In 1960, he was drawn to working with lithographs. His first large “Map” picture was done in 1961. Jasper’s retrospective exhibitions include the one given at the Jewish Museum in 1964 and at the Pasadena Art Museum in 1965.