Body adornment has always included body painting, tattooing, and other kinds of body art, this has been the case over the ages; but in recent times, body art has become more varied and endlessly creative. Kayyali, A. (2006). Music therapy for decreasing patient stress: A new study is currently examining its effectiveness. American Journal of Nursing, 106(4), 72A. Leja, Michael. Reframing Abstract Expressionism: Subjectivity and Painting in the 1940s (includes artist’s statements). New Haven, CT: Yale University Press, 1993. After visiting a Scott show in London in 1953, James Johnson Sweeney, then director of the Guggenheim, wrote to the gallerist Martha Jackson: “At last England has a painter.” That same year Scott became one of the first British artists to visit New York, where Martha Jackson introduced him to Rothko, De Kooning, Kline, and Pollock. The following year, Scott, with Hepworth and Bacon, took part in a three-person show at the MJ Gallery going on to exhibit with Jackson regularly through the next decade. The influence of Rothko was particularly strong, and in 1959 the Rothko family visited the Scott’s at their cottage in England. Rothko had just finished his Seagram paintings while Scott was working on his Altnagelvin mural; both artists discussed the issues and problems of where and how an artist can best show his work. Vitz, Paul C. and Arnold B. Glimcher. Modern Art and Modern Science – The Parallel Analysis of Vision. New York: Praeger Publishers, 1984. Le Clair, Charles. Color in Contemporary Painting (includes artist’s statements). New York: Watson-Guptill Publications, 1991. Zucker, Barbara. New York Reviews: Ellsworth Kelly.” Artnews vol. 74, no. 5 (May, 1975): 96. Exhibition of Work By Newly Elected Members and Recipients of Honors and Awards, American Academy of Arts and Letters, New York, May 19-June 13, 1999. Oleg Vassiliev, along with Erik Bulatov and Ilya Kabakov, was a leader of Moscow’s Conceptual School. According to the well-known critic and curator, Joseph Backstein, the artist is “represented by key works that enable one to see how the Conceptual School deconstructed not only the ‘Soviet’ picture, but painting as a whole.” His contributions to the recognition of “Russian art” becoming “International art” are significant. He left Russia in the late 1980s for a move to New York where he began exhibiting with Phyllis Kind Gallery in SoHo. Today, his paintings are in museum and private collections worldwide. Buchanan, J. (2000). The effects of music therapy interventions in short-term music therapy with teens at risk: An opportunity for self-expression in a group setting. Canadian Journal of Music Therapy, 7(1), 39-50. With a mission of making contemporary art more approachable, the Hyde Park Art Center offers engaging exhibitions, as well as community programming of all varieties: artist talks, a residency program, studio classes and more. Established in 1939, it’s the oldest alternative exhibition in Chicago.
Lisa’s Face Painting is a local business owned and managed by Lisa Eklund who is a professional face painter. Servicing Austin and surrounding areas, she is sure to make all your parties and celebrations more colorful with the face painting that she is doing. Dedicated to bringing a big smile on everyone’s face, she is using her art to transform the fantasy and imagination of the client to reality. BORN IN 1930 IN KIEV, UKRAINE DURING THE REIGN OF THE SOVIET UNION, Krasnyansky found is choices in artistic expression were limited by the requirements of the Soviet State. His paintings, while superb, were basically of architectural objects, buildings, etc. In an attempt to paint what he wanted to paint, he immigrated to America in 1975 and became, essentially, a starving artist. Shapes and Volume: There are no outlines, only contrasts of value. The shapes are mostly geometric (compare Sylvia Bendza – DR 4). The artist used light and dark to show volume. The light falls from the right front, fairly high. Where the light falls the surfaces are quite white; where the light cannot reach, it is darker. Sometimes one object casts a shadow on another object. The darkest shading on any object is where a light plane meets a shaded plane. Fast Forward Contemporary Collections for the Dallas Museum of Art. Exh. cat. New Haven and London: Yale University Press and Dallas Museum of Art, 2007. The geometric drawings by the Swiss spiritualist and artist Emma Kunz (1892-1963) are like kaleidoscopes: patterns appear to tremble and pulsate as you pass by. From afar, a trio of circular works resemble dartboards – static targets. Come closer and they morph into watchful eyes with stringy, pigmented irises and pupils that constrict and dilate in the light. Kunz predicted that her drawings would be appreciated by future generations and here they are hanging in the Serpentine Gallery, in the first monographic show of the artist in the UK. Dotted throughout the space are stone benches (made from a healing rock Kunz discovered) by the artist Christodoulos Panayiotou, who has been involved in putting the exhibition together – handy if the drawings leave you feeling dizzy. Being creative will sometimes scare others and label an artist as weird or crazy. Yes, some probably are but they are creative and crazy geniuses. They probably get to do what a lot of us want to do. Painting Module Introduction Most people have looked at a painting but not everyone who has looked at a painting has seen it. To have seen a painting means to have grasped and appreciated all the diverse qualities, aesthetic and technical.1 Among the visual arts, painting has traditionally received the most attention. Throughout history, from primitive times to the present, the signature of an age has frequently been identified through painting. The mechanics of painting are multifaceted and therefore subject to diverse interpretations and sometimes misunderstandings. Predominantly, painting involves the internal and the external; that is, internal emotions, feelings and personal intent are given external representation through technical manipulation of colour, volume, balance, and other design elements. Students should acquire technical proficiency in various modes of painting, learning to transform personal beliefs and reflections into visual images.
Procter, S. (2006). Music Therapy: Why Not in Education? In A. Paterson & S. Zimmermann (Eds.), No Need for Words: Special Needs in Music Education. Matlock: National Association of Music Educators. A striking collection of botanical and animal paintings commissioned for the East India Company, showcasing the rarely credited talents of local Indian artists in compiling the company’s comprehensive studies in natural history. Throughout the experiments, the students typically picked the professional pieces between 60% and 70% of the time. These aren’t overwhelming majorities, but they were statistically significant. On average, a child could not paint that”, even if first glances might suggest otherwise. Nor are the qualities of the abstract art only visible to people steeped in the art world – even untrained people responded to the paintings in some way. Anita Rogers Gallery is thrilled to present an exhibition of 1950’s – 1980’s paintings and drawings by British artist William Scott. The exhibition will be on view October 16 – December 21 at 15 Greene Street, Ground Floor in SoHo, New York. The gallery will host an opening reception on Wednesday, October 16, 6-8pm. Nochlin, Linda. Ellsworth Kelly Drawings 1960-1962. Exh. cat. New York: Matthew Marks Gallery, 1999. Wisconsin native Tom Uttech is recognized as one of the leading landscape painters working today in the United States. Often categorized as a Magic Realist, his paintings weave together a mystical world of both imagined and real elements. Uttech’s paintings are easily identifiable by their complex devotion to nature, one that is equally raw and wild and familiar and inviting. His inspiration derives from decades of travel to Northern Minnesota and the Quetico Provincial Park in Ontario, Canada. Uttech’s world is one of waterways, shorelines, and tumbling rocks precariously perched within thickets of growth. Pavlicevic, M. (2003). Groups in Music: Strategies from Music Therapy. London: Jessica Kingsley. John Marin: Modernism at Midcentury was co-organized by the Addison Gallery of American Art and the Portland Museum of Art, Maine. Karin Davie is a leading artist in the current wave of painting practices transforming the legacy of high modernism to capture the dynamics of contemporary life. Known for her exuberant curvilinear abstractions and undulating stripes” suggesting body forms, Davie expands the notion of what was once described as the self” in painting. Informed in part by Post modernist choreographers such as Trisha Brown, Davie’s work highlights the performance aspect of painting. Her emphasis on seemingly long unbroken brushstrokes mimics her processes evoking a dynamic study of the body, stamina, and memory. Other groups of work, such as the early private performance photographs, sculpture, drawings and multimedia pieces, all offer different views into to the conceptual and aesthetic concerns that drive Davie’s practice.
Krout, R.E. (2015). Music Therapy Community-Based Clinical Learning Experiences Here and Abroad: A Focus on Community Engagement. In K. D. Goodman (Ed.), International Perspectives in Music Therapy Education and Training: Adapting to a Changing World (pp. 103-129). Springfield, Illinois: Charles C Thomas Publisher. The disorder has further been categorized into two types – congenital and acquired amusia. ‘Congenital’ amusia, also known as tone-deafness, is a musical disorder that is inherited whereas ‘acquired’ amusia occurs as a consequence of brain damage. People suffering from congenital amusia lack basic musical abilities that include melodic discrimination and recognition. This disorder cannot be explained by prior brain lesion, hearing loss, cognitive deficits, socio-affective disturbance, or lack of environmental stimulation. Individuals suffering from congenital amusia often only have impaired musical abilities but are able to process speech, common environmental sounds and human voices similar to typical individuals. This suggested that music is ‘biological’ i.e., it is innately present in humans. Studies have shown that congenital amusia is a deficit in fine-grained pitch discrimination and that 4% of the population suffers from this disorder. Amusic brains have been found in fMRI studies to have less white matter and thicker cortex than controls in the right inferior frontal cortex. These differences suggest abnormal neuronal development in inferior frontal gyrus and its connection to auditory cortex, the two areas which are important in musical-pitch processing. Although there are no cures for congenital amusia, some treatments have been found to be effective in improving the musical abilities of those suffering from congenital amusia. In one such study, singing intervention was shown to improve the perception of music in amusic individuals, and it is hoped that more methods will be discovered that may help people overcome congenital amusia. Breton described Dalí’s art as a retrograde craft with the most extreme inventions of modern culture,” highlighting Dalí’s emblematic artistic style that provoked his viewers to explore literature, religious concepts, and more. Yves Ullens opens an exhibition of new works from his project Urban Traces at MM Gallery in Brussels, Belgium. This body of work continues the artist’s exploration of abstraction in the urban environment. Photos taken over a period of more than 10 years in megacities around the world come together for the first time. Wyatt, J.G. (2002). From the field: Clinical resources for music therapy with juvenile offenders. Music Therapy Perspectives, 20(2), 80-88.
A repeated square supports a facial image which moves from an asymmetrical arrangement in the first block through to an almost symmetrical arrangement in the second block. The various blotches of colour against the black background diminish in number as the size of the face increases. The image on fabric covers uniform sized wooden blocks. Warm red colours which border on cool purple contrast vividly with the black background. Organic shapes of these colours float in the space around the head changing shape and size from block to block. Movement is sensed as the viewer zooms in on the face as its size increases. Wildenstein & Co., New York. Landmarks in American Art, 1670-1950 A loan exhibition of great American paintings for the benefit of the American Federation of Arts. 26 February – 28 March 1953. Catalogue with texts by George Burton Cumming and John I. H. Baur. McCubbin is one of the only Australian artists I could have named before reading this hub. I quite like The Pioneer triptych. Had never seen most of the rest before. Bush Idyll is well named. It looks more Romantic in the capital R sense. Do see the appeal but much prefer what looks to be his middle period. I like the little snapshots, the little flies in amber, conveying a thousand words each. There’s a ton of art for you to see inside of the Art Institute, the Museum of Contemporary Art and more of the best museums in Chicago , but there’s no need to end your journey through the city’s creative landscape there. Neighborhoods like Hyde Park and Wicker Park host thriving communities of art galleries, where you can see paintings, sculptures, photographs and interactive works by emerging and established artists. You’ll find galleries devoted to video-game art, contemporary paintings, performance art and archives of antiquated media—you just have to know where to look. Use our guide to Chicago’s best art galleries to find an opening and experience some bold and imaginative works. For thousands of years people have sung, performed, and enjoyed music. World travelers and social scientists have consistently observed that all of the people in the world have some type of music, and all people recognize music when they hear it, even if they have different names and categories for what they hear. While the music of other cultures will sound different and have different meanings and emotions associated with it, every culture makes it. Twelve groups were scheduled based on students’ appointment selections. Five groups had 2 players and 7 had 3 players. Each group met in a soundproof room containing a video camera, three chairs, and a circular table. On the table were 2 Sony mini speakers, a KORG Kaossilator Pro synthesizer (an 8.5 x 8.5 in panel with a 3 x 4 in touchpad)- and a small sign, “Press the touchpad lightly with your finger.” After reading an explanation of the study and signing permission forms, participants began exploring the device. Each group began with the same sound generated (P168) and was recorded for 10 minutes. Participants then completed a questionnaire requesting demographic information, perceptions of the experience, and ideas for hospital applications.