Sara’s Parlour Face Painting is a contemporary face and body art company based in Birmingham. Elliott Jamal Robbins’ work intersects social construction and self-perception to produce violently fractured narratives. In his Walk Series, installed here in sequence, Robbins paints stereotyped images in motion, only to repeatedly obliterate them—suggesting impeded progress. Stuart Middleton’s drawings of cattle constitute pristine renderings of the sanitized violence of the livestock industry, confirming the image as a distancing mechanism. Drawn from photographs by the artist, taken at a county fair where the livestock was showcased, Middleton faithfully renders the animals’ musculature and adornments. Middleton’s practice on the whole examines the specific application of animal psychology to the livestock industry—an example of exploiting evolutionarily learned behavior to optimize production. In Nolan Simon’s work, the most circulated, and opposed, of visual content collide—the religious motif, pornography, and social media. The work on view refers simultaneously to religious gesture and fetish, while also betraying the lighting of amateur photography to inflect the personal—executed with cool precision, the image is rendered a neutral space of projection. Scott Andresen is an artist who lives and works in New Orleans, LA. His collage and mixed media based works explore themes of repair and the joining of the unlikely. He received his MFA from Yale University and BA from Hunter College and has over 50 group and solo exhibitions to his name including the Jack Tilton Gallery, Lehmann Maupin Gallery, Exit Art, Naples Museum of Art and The Bronx Museum. He has attended residencies at Socrates Sculpture Park and Lower Manhattan Cultural Council while also receiving grants from New York Foundation for the Arts, the Pollock Krasner Foundation, and the Jacob Javits Fellowship. Scott is an Assistant Professor at the LSU School of Art where he oversees the Foundations program. Raglio, A., Bellandi, D., Baiardi, P., Gianotti, M., Ubezio, M.C., & Granieri, E. (2013). Listening to music and active music therapy in behavioral disturbances in dementia: A crossover study. Journal of the American Geriatrics Society, 61(4), 645-647. Note: The Harvard Art Museum has a new Bauhaus collection available online It’s the largest and most comprehensive source of Bauhaus history and images available anywhere. The release of this collection marks the beginning of a broader celebration in 2019, marking the 100th anniversary of the Bauhaus school’s founding. Grotesque is a general adjective for the strange, fantastic, Ugly , incongruous, unpleasant, or disgusting, and thus is often used to describe weird shapes and distorted forms such as Halloween masks In art, performance, and literature, however, grotesque may also refer to something that simultaneously invokes in an audience a feeling of uncomfortable bizarreness as well as sympathetic pity.
Trade, White Columns Gallery, New York, February 4-March 12, 2005. (Catalogue; curated by Matthew Higgs). Contemporary artist Michael Cheval demonstrates how the Surrealism movement of the 1920s has influenced modern-day art with his imaginative Absurdist” paintings that grew in popularity in the early 2000s. Like many of the early Surrealists, Cheval uses music and poetry to inspire the subjects he paints in his mesmerizing, often metaphorical paintings. Miu, A. C., & Balteş, F. R. (2012). Empathy manipulation impacts music-induced emotions: A psychophysiological study on opera. PloS one, 7(1), e30618. 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. Naifeh, Steven, and Gregory White Smith. Jackson Pollock: An American Saga (includes artist’s statements). New York: Clarkson N. Potter, 1989. Music has a profound connection to our personal memories. Listening to an old favorite song can take you back years to the moment that you first heard it. A 2009 study done by cognitive neuroscientist Petr Janata at the University of California, Davis, found a potential explanation for this link between music and memory by mapping the brain activity of a group of subjects while they listened to music. Whitney Museum of American Art, New York. Nature in Abstraction: The Relation of Abstract Painting and Sculpture to Nature in Twentieth-Century American Art. 14 January – 16 March 1958. Traveled to the Phillips Collection, Washington, DC, 2 April – 4 May 1958; Fort Worth Art Center Museum, TX, 2 – 29 June 1958; Los Angeles County Museum of Art, CA, 16 July – 24 August 1958; San Francisco Museum of Art, CA, 10 September – 12 October 1958; Walker Art Center, Minneapolis, MN, 29 October 14 December 1958; City Art Museum, St. Louis, MO, 7 January – 8 February 1959. Catalogue by John I. H. Baur. Whitney Museum of American Art, New York. Abject Art: Repulsion and Desire in American Art. Selections from the Permanent Collection. 23 June – 29 August 1993. Catalogue with texts by Jack Ben-Levi et al. Wigram, T., & Gold, C. (2012). The Religion of Evidence-Based Practice: Helpful or Harmful to Health and Wellbeing? In R. MacDonald, G. Kreutz & L. Mitchell (Eds.), Music, Health & Wellbeing (pp. 164-182). Oxford: Oxford University Press. Knight, Christopher. Imagination at Play in the Improvisations” (Ace Gallery exhibition review). Los Angeles Times, 20 April 2001: illustrated.
Cummings, Paul. A Dictionary of Contemporary American Artists. New York: St. Martin’s Press, 1966. Bois, Yve-Alain. The Summons.” Spencertown: Recent Paintings by Ellsworth Kelly. Exh. cat. London: Anthony d’Offay Gallery and New York: Matthew Marks Gallery, 1994: 7-85. This research investigated the worldviews that music therapists hold and how these influence their music therapy practice and teaching. Culture for this project was defined as “the behaviors and beliefs characteristic of a particular social, ethnic, or age group” (). Twelve participants who had lived and worked in 16 different countries and had experience as both music therapy clinicians and teachers, participated. They were asked, “What views do you hold that are a part of your culture that you believe may influence your music therapy or teaching of music therapy?” The researchers performed an inductive analysis of the data using principles of grounded theory methods. Four themes were found to represent the main influences of culture relevant to music therapy as understood and described by the participants: the influence of culture in shaping worldviews, on clinical practice, on teaching, and on perception and thinking about the therapeutic process. These themes and constructs that constitute each are presented, along with quotations to illustrate each. Participants’ views of culture and worldview are also presented. Implications of this research for the teaching and practice of music therapy in a multicultural world are discussed. Of course, it wasn’t what Pollock painted so much as how he applied pigment to canvases – dripping liquid paint from cans, splattering or slapping it from brushes or sticks, or squeezing it from tubes or syringes; and whatever fell on the painting became part of it, be it cigarette butts, paint tube tops, pebbles, nails, buttons, tacks, coins or matches, because, as far as Pollock was concerned, there were no accidents. Pollock’s paintings were as spontaneous as a lightning bolt. Music, therefore, can act as an alternative medium through which those with ASC can communicate both ideas and emotions. In this way, through music, people with autism can experience themselves and the world around them in a way that is different from what they are normally accustomed. After practice within musical group play, these experiences can be potentially carried over to non-musical activities in their daily lives. Indeed, this is the belief of many musical therapists. 7 These experiences may not only improve communication skills, but may also boost confidence, and through the expression of emotion, lead to a greater sense of self.
Hathorn Gallery, Skidmore College, Saratoga Springs, NY. The Drawings of Arshile Gorky. 21 October – 9 November 1969. Catalogue. The artist selected a specific site to install the paper, arranged it carefully, then photographed the scene. Daur, Jörg. Symbol, Panel, and Object.” Ellsworth Kelly Black & White. Exh. cat. Munich: Haus der Kunst; Ostfildern: Hatje Cantz Verlag, 2011: 22-27. The text is also published in a German edition of this catalogue. We like to make our living spaces personal and lively by decorating. This includes outside spaces. When we look at outside space at home or school, we rearrange or ornament the features that we find ordinarily in these spaces. This is done with colour alone or with scenes of our small or wider community painted or carved on them. Graffiti is a form of this decoration. Salmon, D., Dileo, C., Hilliard, R., Magill, L., & Cadrin, L. (2006). Enhancing hospice and palliative care services with music therapy: What administrators need to know. Journal of Palliative Care, 22(3), 207-207. HubPages provides a two-tiered, free, professional editing service to its site authors: HubPro Basic and HubPro Premium editing. Articles on Network Sites are eligible for these services. The State of New York Painting: Works of Intimate Scale by 26 Colorists, Kingsborough Art Museum, Brooklyn, March 6-April 5, 2017. De Kooning, Elaine. Hans Hofmann Paints a Picture” (includes artist’s statements). ARTnews 48, no. 10 (February 1950): pp. 38-41, 58-59. Reprinted in Hans Hofmann: Provincetown Paintings and Drawings (solo exh. cat., 1985), pp. 1-11. Partially reprinted in ARTnews 111, no. 10 (November 2012): pp. 138-39. Graw, Isabelle. Ellsworth Kelly, Haus der Kunst, Munich.” Artforum vol. 50, no. 10 (Summer 2012): 310. A 2014 study found that while people listened to music they described as chill-inducing,” they were more generous. Like, the 22 participants played a game in which they were dictators who had to decide how to distribute money to fake people, and ones who listened to their preferred chill-inducing” music beforehand were more generous than those who listened to music they didn’t like or those who heard nothing at all. Whaam! dates from 1963 is now part of the permanent collection of London’s Tate Modern gallery. It is a two-canvas work, thirteen feet wide (in total) and five-and-a-half feet deep. The materials used are acrylics and oils. Small Paintings, Victoria Munro Gallery, New York, December 1983. Lindenfelser, K.J., Hense, C., & McFerran, K. (2012). Music therapy in pediatric palliative care: Family-centered care to enhance quality of life. American Journal of Hospice and Palliative Medicine, 29(3), 219-226.
Arkansas Arts Center, Little Rock. American Abstract Drawings, 1930 – 1987. Selections form the Arkansas Arts Center Foundation Collection. 26 February – 19 June 1988 and 3 – 27 November 1989. Traveled to the Arts Club of Chicago, IL, 8 January – 12 February 1990; Memphis State University, TN, 2 – 30 March 1990; Center for the Arts, Vero Beach, FL, 8 September – 10 November 1990. Catalogue by Townsend Wolfe. Review Article is an article that summarizes the current state of understanding on a topic. A review article surveys and summarizes previously published studies, rather than reporting new facts or analysis. Review articles are sometimes also called survey articles or, in news publishing, overview articles. Academic publications that specialize in review articles are known as review journals. Review articles teach about: The main people working in a field. Recent major advances and discoveries. Significant gaps in the research. Current debates. Ideas of where research might go next. Pop Art: 1960’s-2000’s From Misumi Collection. Exh. cat. Tokyo: The Japan Association of Art Museum, The Yomiuri Shimbun, 2007: 55. Kafali, H., Derbent, A., Keskin, E., Simavli, S., & Gözdemir, E. (2011). Effect of maternal anxiety and music on fetal movements and fetal heart rate patterns. Journal of Maternal-Fetal and Neonatal Medicine, 24(3), 461-464. Lai, G., Pantazatos, S.P., Schneider, H., & Hirsch, J. (2012). Neural systems for speech and song in autism. Brain, 135(3), 961-975. Stephenson, J. (2006). Music therapy and the education of students with severe disabilities. Education and Training in Developmental Disabilities, 41(3), 290-299. The music industry refers to the businesses connected with the creation and sale of music. It consists of songwriters and composers who create new songs and musical pieces, music producers and sound engineers who record songs and pieces, record labels and publishers that distribute recorded music products and sheet music internationally and that often control the rights to those products. Music piracy is the copying and distributing of recordings of a piece of music for which the rights owners (composer, recording artist, or copyright-holding record company) did not give consent. Copyright for music is normally divided into two tracks: the ‘mechanical’ rights which cover the sound recording and whatever means necessary to play back the recording, and the songwriting rights, which protect the ideas behind the recording: the score, lyrics and arrangements. Mechanical rights are generally purchased by the artists’ record company while the artist (or composer) retains control of songwriting rights through their personal corporation. The report, called Digital Music Nation 2010, found 1.2 billion tracks were illegally downloaded in 2010. More than one-third of global music listeners are still pirating music, according to a new report by the International Federation of the Phonographic Industry (IFPI). While the massive rise in legal streaming platforms such as Spotify, Apple Music and Tidal was thought to have stemmed illegal consumption, 38% of listeners continue to acquire music through illegal means. The most popular form of copyright infringement is stream-ripping (32%): using easily available software to record the audio from sites like YouTube at a low-quality bit rate. Downloads through cyberlocker” file hosting services or P2P software like BitTorrent came second (23%), with acquisition via search engines in third place (17%).