The market for Chinese contemporary art has developed at a feverish pace, becoming the single fastest-growing segment of the international art market. Donohoe, Victoria. Abstract Return to the Area by Nozkowski” (Cava Gallery exhibition review). The Philadelphia Inquirer, 17 April 1987. Kulkarni, S., Johnson, P., Kettles, S., & Kasthuri, R. (2012). Music during interventional radiological procedures, effect on sedation, pain and anxiety: A randomised controlled trial. British Journal of Radiology, 85(1016), 1059-1063. Thomas Nozkowski: Recent Work (exhibition catalogue). Text by John Yau. New York: PaceWildenstein, 2008. Older adults prefer singing and listening activities over other music activities, and they preferred popular music over other types of music. Other than the study conducted by VanWeelden and Cevasco (2009), which only consisted of 36 participants listening to 36 popular songs and songs from musicals, a large-scale study of song preferences has not been conducted to address the music preferences of the current aging population. Thus, the purpose of this study was to determine older adults’ preferences for specific popular songs, across the 1900s-1960s, that might be used for music listening and singing activities and therapeutic interventions. Specifically, participants’ indicated if they: 1) had heard the song before, 2) would prefer to sing the song, and 3) would want to listen to the song. Also, participants communicated the degree to which they liked each song as well as stated any particular memories they associated with the song. Further analysis also indicated whether song preferences were within the “young adult years” theory, proposed by Gibbons (1977). A total of 240 older adults participated in the study, ages 70 and older. Twenty songs from each decade (1900s-1960s) were selected, resulting in a total of 140 songs. Song selection was based on previous research studies. Three age sub-groups of older adults (70-79, 80-89, and 90+) listened to the songs. Thus, a total of 20 participants in each age bracket listened to each playlist of songs. This resulted in a total of 60 individuals who listened to each playlist (e.g., playlist 1 = 20 participants 70-79 years of age, 20 participants 80-89 years of age, and 20 participants 90+ years of age). At this time data is being collected, and a preliminary analysis will be provided at the conference. Rich, Sarah K. Bridging the Generation Gaps in Barnett Newman’s Who’s Afraid of Red, Yellow and Blue?” American Art (Smithsonian American Art Museum) vol. 19, no. 3 (Fall 2005): 31-39. American Academy Invitational Exhibition of Painting & Sculpture, American Academy of Arts and Letters, New York, March 9-April 5, 1998.
Edwards, J. (1999). Considering the paradigmatic frame: Social science research approaches relevant to research in music therapy. The Arts in Psychotherapy, 26(2), 73-80. Even when Reinhardt was not literally making collages, he alluded to the practice of it in many of his drawings, applying color in overlapping, autonomous swaths like pieces of paper laid down on top of one another. In several elegant black-and-white drawings dating from 1936-39, the negative space is allowed to take on its own constructive presence, moving from the edges into the center, as in a gestalt-shifting optical illusion. (Here again we find Reinhardt’s insistent exhortation to stay awhile, looking, even in front of his smallest, quickest works.) Transparent forms seem to float in early gouaches from 1938-39 like colored tissue paper layered on amorphous abstractions. Several small oil-on-Masonite paintings from 1940 use asymmetrical blocks of color that appear to be interchangeable and to be moving toward a pure grid. Reinhardt’s mingling and overlapping of gouache, watercolor, and ink in single compositions in some relatively large works (the biggest is roughly sixteen by thirty inches) from 1945 also evoke collage. These bright drawings and their larger painted counterpoints veer from any straight and narrow trajectory of reduction. They are Reinhardt at his messiest (though still pretty tidy) and most experimentalhis self-described rococo period, following the controlled geometries and neat color-space of the Davis-inspired ’30s studies. If you squint, you can imagine that a noncollaged work like Untitled, 1945, includes bright yellow, red, and blue construction-paper pieces interspersed with calligraphic strokes of black (not unlike newsprint), with puddles of mint-green, dove-gray, and baby-pink paint. A culmination of sorts, the 1945 group is a compendium of work sheets for every style and application of line, yet line never describes an actual physical thing other than itself. Sutton, J. (2011). A Flash of the Obvious: Music Therapy and Trauma. In A. Meadows (Ed.), Developments in Music Therapy Practice: Case Study Perspectives (pp. 268-284). Gilsum, NH: Barcelona. Caine, J. (1991). The effects of music on the selected stress behaviors, weight, caloric and formula intake, and length of hospital stay of premature and low birth weight neonates in a newborn intensive care unit. Journal of Music Therapy, 28(4), 180-192. As an artist, I have sold many paintings via various methods, including galleries and eBay. Ledger, A.J., & Baker, F.A. (2007). An investigation of long-term effects of group music therapy on agitation levels of people with Alzheimer’s disease. Aging & Mental Health, 11(3), 330-338.
Haslbeck, F.B. (2013). The interactive potential of creative music therapy with premature infants and their parents: A qualitative analysis. Nordic Journal of Music Therapy, 23(1), 36-70. At the university level, students in most arts and humanities programs can receive credit for taking a few music courses, which typically take the form of an overview course on the history of music , or a music appreciation course that focuses on listening to music and learning about different musical styles. In addition, most North American and European universities have some types of musical ensembles that students in arts and humanities are able to participate in, such as choirs, marching bands, concert bands, or orchestras. The study of Western art music is increasingly common outside of North America and Europe, such as the Indonesian Institute of the Arts in Yogyakarta , Indonesia , or the classical music programs that are available in Asian countries such as South Korea, Japan, and China. At the same time, Western universities and colleges are widening their curriculum to include music of non-Western cultures, such as the music of Africa or Bali (e.g. Gamelan music). Wylie, Charles. Waves.” Ellsworth Kelly in Dallas. Exh. cat. Dallas: Dallas Museum of Art, 2004: 14. In Dialogue with Thomas Nozkowski, Sonnenschein Gallery, Durand Art Institute, Lake Forest College, Illinois, October 11-November 8, 2012. Magee, W.L. (2007). Development of a music therapy assessment tool for patients in low awareness states. NeuroRehabilitation, 22(4), 319-324. Thomas Nozkowski: Touchstones, University of Kentucky Art Museum, Lexington, May 20-August 20, 2017. Both listening to and creating music are crucial factors in engaging a child’s brain with music. There is, however, a clear difference in what happens in our brains when we listen to music and when we make music. B.urrey, S.uzanne. In the Galleries: Ellsworth Kelly.” Arts Magazine (October, 1957). Donald was initially inspired by the Scottish landscape around his home, but he has since gradually developed an interest in the ‘design’ aspects of still life painting allowing him to examine themes of colour and composition. This has gradually developed into a stylistically more contemporary approach, which has led him to return to some of the themes of his college years sculptures – this time exploring organic plant forms in painting terms of colour and pattern. Each painting at Red Rag is sourced from the Donald MacLean artist studio and like all Red Rag Contemporary art it can be shipped worldwide. National Gallery of Australia, Canberra. Surrealism: Revolution by Night. 12 March – 2 May 1993. Traveled to Queensland Art Gallery, Brisbane, 21 May – 11 July 1993; Art Gallery of New South Wales, Sydney, 30 July – 19 September 1993. Catalogue with texts by Dawn Ades et al.
A photographic series by Parisian photo journalist Aida Tawil documenting the color of Mozambique with its colonial history and current laid-back pace. As a photojournalist, Ms. Tawil travels to distant places, speaks the local languages, and documents daily challenges. Presented are three series of images: Crossing the Zambezi, Pangane, and Ilha de Moçambique. The focus of the first series is the Zambezi River, which runs 3,540 Km and empties into the Indian Ocean. The second series documents the fishermen village of Pangane, a remote village at the Northern edge of the country on the Indian Ocean. Ilha de Moçambique, the old capital, is the subject of the third series of photographs. Global DanceFest JourneysAFRICA is proud to host the first U.S. exhibit by Aida Tawil, a visual journey complimenting the dance performers from Maputo, Mozambique, at North Fourth Art Center. Women Take the Floor seeks to acknowledge and remedy the systemic gender discrimination found in museums, galleries, the academy and the marketplace, including the MFA’s inconsistent history in supporting women artists. The exhibition also explores art and suffrage—emphasizing that both could give women a voice in their community and the world. At the same time, it recognizes that past feminist movements, including the campaign for the right to vote, were not inclusive or immune from systemic racism. By looking at 20th-century American art through the lens of modern-day feminism—which advocates for equity and intersectionality (the way an individual’s race, class, gender and other identities combine and overlap)—MFA curators hope to broaden the stories that are told during the yearlong commemoration of women’s suffrage in 2020. Theater is a collaborative form of fine art that uses live performers, typically actors or actresses , to present the experience of a real or imagined event before a live audience in a specific place, often a stage. The performers may communicate this experience to the audience through combinations of gesture , speech , song, music , and dance. Elements of art, such as painted scenery and stagecraft such as lighting are used to enhance the physicality , presence and immediacy of the experience. Nguyen, T.N., Nilsson, S., Hellstrom, A.L., & Bengtson, A. (2010). Music therapy to reduce pain and anxiety in children with cancer undergoing lumbar puncture: A randomized clinical trial. Journal of Pediatric Oncology Nursing, 27(3), 146-155. Gimeno, M. (2010). The effect of music and imagery to induce relaxation and reduce nausea and emesis in patients with cancer undergoing chemotherapy treatment. Music and Medicine, 2(3), 174-181.