American contemporary artist, Jasper Johns, Jr., was born on May 15, 1930, in Augusta, Georgia. Through media work, art provides the opportunity for physical as well as mental activity. Studio work provides relief from academic pursuits in art and in other subject areas. Since the creation of art works depend upon the manipulation of materials, the importance of developing specific art skills cannot be overstressed. It is during the period of early adolescence that students must develop studio competence. If adolescent students cannot accomplish what they perceive to be good art, they usually become discouraged and abandon art making. Feen-Calligan, H., & Matthews, W.K. (2016). Pre-professional arts based service-learning in music education and art therapy. International Journal of Education & the Arts, 17(17). The Return of the Cadavre Exquis (exhibition catalogue). Text by Ann Philbin. New York: The Drawing Center, 1993: illustrated. Forrest, L. (2014). Your song, my song, our song: Developing music therapy programs for a culturally diverse community in home-based paediatric palliative care. Australian Journal of Music Therapy, 25, 15-27. Myers, John Bernard. Tracking the Marvelous: A Life in the New York Art World (includes artist’s statements). New York: Random House, 1983. Daykin, N., McClean, S., & Bunt, L. (2007). Creativity, identity and healing: Participants’ accounts of music therapy in cancer care. Health: An Interdisciplinary Journal for the Social Study of Health, Illness and Medicine, 11(3), 349-370. Artists who are stuck in a rut., or failing to make any money. What I do in the Morning, an open call for artists attracted many responses from the local Albuquerque area community. The work ranges from a multimedia triptych made of beeswax on paper and ink to a wooden sculpture shaped as disposable razor. Other works include acrylic and oil paintings, photography, a tea bag tapestry, monoprint on a pillow case, pencil drawings among others. Painterly Abstraction: Eight New York Artists (exhibition catalogue). Text by Charles Kessler. Los Angeles: Simard Halm & Shee Gallery, 1986: illustrated. Arranged by Peggy Guggenheim, Hofmann’s first exhibition in New York opened in 1944. The same year he opened another exhibition in Chicago, ‘Hans Hofmann, Paintings 1941-1944’. In 1947 he had a succession of exhibitions in New York, Dallas, and Pittsburgh. In the same year The Kootz Gallery (New York) began organizing a solo show of Hofmann that continued almost every year until his death. June 9-15. High school students. Advanced high school students of woodwind, brass, percussion, jazz, voice, piano and strings can participate in this intensive one-week training period for both day and boarding students. $400-$475. For more information: email [email protected] or call 803-576-5893.

Hertrampf, R. (2015). Group Music and Imagery (GrpMI) Therapy with Female Cancer Patients. In D. Grocke & T. Moe (Eds.), Guided Imagery & Music (GIM) and Music Imagery Methods for Individual and Group Therapy (pp. 243-252). London: Jessica Kingsley Publishers. KIKUO SAITO (1939-2016) had two métiers, as an abstract painter and as a creator of experimental theater performances. These co-existed in a state of fruitful tension for much of his life, representing two aspects of his being, the public and the private, the active and the reflective. These polarities can also be seen clearly in his paintings, which unite the contemplative coolness of Color Field with the energetic gestures of Abstract Expressionism. Establishing himself in the New York art world in the late ’60s and early ’70s, Saito bucked the Pop and Minimalist trends to chart his own course, moving back and forth between the theater and the studio. I’ve included the above painting even though it was not actually by an official war artist. George Luks was an American artist, a member of the Ashcan school of art, and this painting represents the women and families at home waiting for news of their men-folk who are away at war. In those days it was common to knit socks by hand, and here we see the wives, mothers and sisters of the soldiers, busily producing warm socks for their loved ones, many miles away. The snowy scene reminds us of the tough conditions the men-folk are likely to be enduring, and this is echoed in the next painting, shown below. Oceanic colours move throughout these undulating, soft-flowing, shell-shaped forms. There are combinations of cool and warm pastel colours. Each object is horizontally aligned. The presentation of six of them, one above the other, creates a strong vertical formation. These container like forms have sensuous outer shells which enclose delicate fragile interiors. They each have an organic shape which differs slightly from all the others. Some loose weaving, resembling nets, emerges from the enclosed areas. Each piece is sensitively proportioned. Scratch: The Exhibition (exhibition catalogue). New York: Thread Waxing Space, 1996: illustrated. A.rnason, H. H.arvard Vanguard American Painting. Exh. cat. London: American Embassy, 1962. The text is also published in 1961 in a German edition for the Austria and Germany venues, and in a Croatian edition for the Yugoslavia venues. Kim, S., Kverno, K., Lee, E.M., Park, J.H., Lee, H.H., & Kim, H.L. (2006). Development of a music group psychotherapy intervention for the primary prevention of adjustment difficulties in Korean adolescent girls. Journal of Child and Adolescent Psychiatric Nursing, 19(3), 103-111.

Art Nouveau is an international style of art, architecture and applied art, especially the decorative arts, known in different languages by different names: Jugendstil in German, Stile Liberty in Italian, Modernisme in Catalan, etc. In English it is also known as the Modern Style (not to be confused with Modernism and Modern architecture). The style was most popular between 1890 and 1910. It was a reaction against the academic art, eclecticism and historicism of 19th century architecture and decoration. It was often inspired by natural forms such as the sinuous curves of plants and flowers. Other characteristics of Art Nouveau were a sense of dynamism and movement, often given by asymmetry or “whiplash” curves, and the use of modern materials, particularly iron, glass, ceramics and later concrete, to create unusual forms and larger open spaces. One major objective of Art Nouveau was to break down the traditional distinction between fine arts (especially painting and sculpture) and applied arts. It was most widely used in interior design, graphic arts, furniture, glass art, textiles, ceramics, jewelry and metal work. The style responded to leading 19-century theoreticians, such as French architect Eugène-Emmanuel Viollet-le-Duc (1814-1879) and British art critic John Ruskin (1819-1900). In Britain, it was influenced by William Morris and the Arts and Crafts movement. German architects and designers sought a spiritually uplifting Gesamtkunstwerk (total work of art”) that would unify the architecture, furnishings, and art in the interior in a common style, to uplift and inspire the residents. The first Art Nouveau houses and interior decoration appeared in Brussels in the 1890s, in the architecture and interior design of houses designed by Paul Hankar, Henry Van de Velde, and especially Victor Horta, whose Hôtel Tassel was completed in 1893. It moved quickly to Paris, where it was adapted by Hector Guimard, who saw Horta’s work in Brussels and applied the style for the entrances of the new Paris Metro. It reached its peak at the 1900 Paris International Exposition, which introduced the Art Nouveau work of artists such as Louis Tiffany. It appeared in graphic arts in the posters of Alphonse Mucha, and the glassware of René Lalique and Émile Gallé. From Belgium and France, it spread to the rest of Europe, taking on different names and characteristics in each country (see Naming section below). It often appeared not only in capitals, but also in rapidly growing cities that wanted to establish artistic identities (Turin and Palermo in Italy; Glasgow in Scotland; Munich and Darmstadt in Germany), as well as in centres of independence movements (Helsinki in Finland, then part of the Russian Empire; Barcelona in Catalonia, Spain). By 1910, Art Nouveau’s influence had faded. It was replaced as the dominant European architectural and decorative style first by Art Deco and then by Modernism. Then it was reborn in the 1960’s in America.