Widewalls

Muriel Barclay was born in Glasgow. There are times when collectors or interior designers need art for a specific space or effect, or for a unique taste. Commissioning a work of art specifically addresses these concerns. Commissions are not welcomed by every artist. Some commissions are a dubious undertaking even for artists do commissions. TL;DR … Continue reading “Widewalls”

Muriel Barclay was born in Glasgow. There are times when collectors or interior designers need art for a specific space or effect, or for a unique taste. Commissioning a work of art specifically addresses these concerns. Commissions are not welcomed by every artist. Some commissions are a dubious undertaking even for artists do commissions. TL;DR – By breaking down the main elements of human-organized sound, we gain a better understanding of the neurological processes involved in each, which will better inform and predict the selection of musical styles and recordings in research environments. We’ll examine the difficulty of establishing the control condition in auditory experiments, the myth of relaxing” music, how audition relates to attention and distraction, and top-down vs. bottom-up processing of the musical elements. We’ll also touch briefly on the relation between music and language processing. Finally, we will give several examples of a brief paragraph that more accurately describes music selection using the following seven criteria: rhythm, melody, harmony, timbre, form, loudness, and context. EXPLORE THE COLLECTION ONLINE: Browse artworks from the modern and contemporary art collection anytime. Check back often for additions and updates. From September 21, 2015 through February 5, 2016, the Ogden Museum of Southern Art will present an exhibition of recent additions to the museum’s growing collection of Southern art. Often on view for the first time in the museum, these paintings, drawings, prints and sculpture represent the depth and breadth of the museum’s collection practices. Troyen, Carol, Charlotte Emans Moore, and Priscilla Kate Diamond. American Paintings in the Museum of Fine Arts, Boston: An Illustrated Summary Catalogue. Boston: Museum of Fine Arts, Boston, 1997. Bearden continued painting abstracts until 1963, which was a momentous year for the artist and the nation. That summer the massive March on Washington, where Martin Luther King, Jr. gave his historic I Have a Dream” speech, marked a new stage in the ongoing struggle for civil rights. In New York, Bearden and several artists, including Hale Woodruff, Charles Alston, and Norman Lewis, formed the Spiral group in order to promote the work of black artists and explore ways in which they could contribute to the civil rights movement. This led directly to Bearden’s return to figurative art in his collages and his celebrated black and white photostat enlargements, which he called Projections. Researchers in different fields have summarized conclusions about the nature of music and culture after many years of observing human behavior and music. Alan Merriam, an anthropologist and one of the founders of ethnomusicology, created a list of ten commonalities of musical behavior after travelling extensively among many different people. His list, known as the Ten Functions of Music,” is included in his landmark study The Anthropology of Music (1964).

Waldman, Diane. Ellsworth Kelly Masterworks – Two-panel Paintings. Exh. cat. New York: Joseph Helman Gallery, 1998. Lightness and strength are qualities of a good racing bicycle. These are emphasized in this painting. The gradation of colour between the spokes of the wheel reminds one of the clicking precision of motion of the racing bicycle. Nozkowski, Thomas. Letter to a Young Artist.” In Letters to a Young Artist. New York: Darte Publications, 2006. Everyone Creates is the first of six exhibits, events and performances taking place at North Fourth Art Center that are all part of On the Map: Unfolding Albuquerque Art + Design , a citywide collaboration taking place from January through June 2015. Thomas Nozkowski: Paintings & Works on Paper, Max Protetch Gallery, New York, March 25-April 24, 1993. Expressionism is to present the world solely from a subjective perspective, distorting it radically for emotional effect in order to evoke moods or ideas. Expressionist artists sought to express the meaning of emotional experience rather than physical reality. My husband and I saw that movie you mentioned at the end of your hub and it was great! Incidentially, Dr. Robert Rogan who was the head of the art dept. at Lamar University in Beaumont created some Jackson Pollock-like paintings (not his usual style) and we had one of them hanging in our home for years. Did a hub on (Bob) Rogan showing his paintings if you are interested. While not (yet) as famous as Pollock, I think that you would find it interesting. Haslbeck, F. (2004). Music therapy with preterm infants – Theoretical approach and first practical experience. Music Therapy Today, 5(4), 1-16. This is an extremely busy picture, chock-full of a tremendous variety of fish (describe some) and underwater plant life. Although the image is mainly green, there is a wide range of colour. There does not seem to be one main point of interest. The whole surface of the painting is full of interesting detail. George, Hardy S., ed. Breaking the Mold: Selections from the Washington Gallery of Modern Art, 1961-1968. Essays by Hardy S. George, Gerald Nordland, and Barbara Rose. Oklahoma City, OK: Oklahoma City Museum of Art, 2007. Line, Texture, Colour: The image makes very strong use of all three. The line is bold, angular, radiating. Lines are also evident in a textural sense. They radiate from the head, indicating the irregular texture of the feathers and the body. Colours are strong. The red clashes in its neon quality with the purple, black, and white. Kemper Museum of Contemporary Art: The First Ten Years. Kansas City, MO: Kemper Museum of Contemporary Art, 2004.

The neurological experience of loudness, also called dynamics, levels, or volume, is surprisingly poorly understood. We have it mapped out pretty well, but hypotheses conflict as to why we like some loud noises, but not others. We don’t know why increasing a song’s volume sounds better until it doesn’t. We don’t know why swelling or subsiding volume affects us so strongly that it can induce chills , an affect that strengthens when coupled with textural changes and surprising harmonies. We don’t know why we can stand louder volumes at a rock concert than at home or in the car, but I like this study’s attempt to explain positive loud experiences, essentially using volume to distract from other stimuli the same way a psychotropic drug might This theory promotes the idea of sensory spaces, in which one sensory experience can overtake enough of the brain’s attention that it drowns other spaces out. We essentially calibrate loudness to reach a Goldilocks point of optimum distraction and preferable sensory space. Peale’s portrait gallery (?), Independence Hall, Philadelphia, ca. 1782, then the Peale Museum, Philadelphia, from ca. 1786-1854; The Fabulous Peale Family, Kennedy Galleries, New York, June 13-July 8, 1960; The Voyage of Life, Bayou Bend Museum of Americana at Tenneco, Houston, September 22, 1991-February 26, 1993. Storr, Robert. A Gift Beyond Measure.” Ellsworth Kelly at Ninety. Exh. cat. New York: Matthew Marks Gallery, 2013: 24-29. But it was in 1968, after the death of this Uncle Bobby (Robert E. Nail, Jr. playwright and creator of the Fort Griffin Fandangle) that Nail’s thoughts started to turn back towards home. In February of 1977 a small group of ten people, including Nail and his mother Wyldon, along with his cousin, Fort Worth Circle artist Bill Bomar, met at Fort Worth’s Rivercrest Country Club to discuss what the future of the jail building might look like. They ended their luncheon meal with a commitment to establish what would become the Old Jail Art Center and by that December an official charter to establish the Old Jail Foundation was written, followed by an official non-profit designation received the following October. The handicapped artists need to use their mouth to paint, so they are legit. Podcasts are taking over. Over 124 million Americans have listened to a podcast. At least 73 million listen monthly and 48 million listen weekly. That’s a lot of people and a lot of time! So many exciting and informative stories are being created through podcasts. Have you jumped into the podcast world yet? We’ve got the perfect art podcast list for you to start.

Colours are harmonious, painterly with subtle gradations. There is use of contrast of the dark figures, the landforms and the central dog against the light background. Our eyes follow the line of the dog team to the middle ground the off into the distance. The overall design indicates a knowledge of formal design theory. The use of a border is common to many folk art forms both in Newfoundland and elsewhere. Trevarthen, C., Aitken, K., Papoudi, D., & Robarts, J. (Eds.). (1998). Children with Autism: Diagnosis and Interventions to Meet their Needs. London and Philadelphia: Jessica Kingsley. As an art dealer, I have sold a good many paintings through eBay, and also through auctions such as Christies, and so have plentiful experience and insights to pass on in the field of selling art. In this article I reveal the little-known stratagies employed by many top selling professional artists. Perfect Painting 40 Jahre Galerie Hans Mayer. Exh. cat. Düsseldorf: Galerie Hans Mayer and Neuss: Langen Foundation, 2005. Lynda & Ron Wilson – Coming Up for Air is Upright Gallery’s intriguing show of prints and artist-books, based on sketches from walks. Selz, Peter. Hans Hofmann: Selections from the Artist’s Gift to the University” (includes artist’s statements). American Art Review 5, no. 2 (Winter 1993): pp. 126-31. Zweite, Armin. Ellsworth Kelly.” Köln Skulptur 1. Exh. cat. Köln: Wienand Verlag, 1997: 74-77. Reencountering a passage of music involves repeatedly traversing the same imagined path until the grooves through which it moves are deep, and carry the passage easily. It becomes an overlearned sequence, which we are capable of executing without conscious attention. Yet in the case of passive listening, this movement is entirely virtual; it’s evocative of the experience of being internally gripped by an earworm, and this parallel forms a tantalizing link between objective, external and subjective, internal experience. This sense of being moved, of being taken and carried along in the mode of a procedural enactment, when the knowledge was presented (by simply sounding) in a way that seemed to imply a more declarative mode can be exhilarating, immersive, and boundary-dissolving: all characteristics of strong experiences of music as chronicled by Gabrielsson and Lindström’s (2003) survey of almost 1000 listeners. Most relevant to the present account are findings that peak musical experiences tended to resist verbal description, to instigate an impulse to move, to elicit quasi-physical sensations such as being filled” by the music, to alter sensations of space and time, including out-of-body experiences and percepts of dissolved boundaries, to bypass conscious control and speak straight to feelings, emotions, and senses, to effect an altered relationship between music and listeners, such that the listener feels penetrated by the music, or merged with it, or feels that he or she is being played by the music, to cause the listener to imagine him or herself as the performer or composer, or experience the music as executing his or her will, and to precipitate sensations of an existential or transcendent nature, described variously as heavenly, ecstatic or trance-like.