Deviations (Photo Essay) Long, Nancy
Canadian art teacher,
01/2023, Letnik:
19, Številka:
1
Journal Article
Long discusses the idea his photo essay which stems from a past CSEA conference where she presented on creating challenging artwork from her perspective as both an artist and a high school art ...teacher. In it, she recognized how she attended to deviations or "mistakes" made in a medium she had never worked with to empathize with her students when they are faced with such a task. She transferred these discoveries into this photo essay, which she considers a pedagogical tool. Perhaps it is also a catalyst for a future assignment for her students, emphasizing the importance of the artistic process while trying to minimize the fear often associated with making mistakes in the art classroom.
As a work of social choreography, Niimikaage is meant to listen to the movement of the Mississippi River through the lives of people connected to it. Whether their story is directly connected to the ...river or not, water shapes the world around them.
A Corsham flavour Rudall, Paula J
The British art journal,
04/2022, Letnik:
23, Številka:
1
Journal Article
Recenzirano
Rudall believed that works of art should speak for themselves. He even found it difficult to give titles to his paintings. Yet all art has a political and economic perspective chat is not only ...interesting to the observer but also highly relevant to the artist practitioner. Here, Rudall's art and social context, from his early artistic connections in Swindon, Corsham and London, through a period of relative obscurity in the West Midlands to a highly creative period in Bath that brought him greater artistic productivity and fulfilment, are explored.
Introduction
The language of visual arts speaks to us in a way that words cannot. Acknowledging the therapeutic effects of artistic expression, art therapy – a psychotherapeutic approach that ...integrates expressive characteristics of art and explorative characteristics of psychotherapy – has developed. From its beginnings, it has been used with people with psychotic disorders and is enlisted in NICE guidelines as psychological therapy for psychosis and schizophrenia.
Objectives
To understand and to activate the potential of artistic expression in people with psychotic disorders treated on acute ward, in day hospitals and as a form of long-term therapy in the Patients club of the University psychiatric hospital „Sveti Ivan“.
Methods
Art therapy programme is conducted separately on acute ward (Ward for integrative psychiatry), day hospitals (Day hospital for integrative psychiatry and Day hospital for psychotic disorders) and in the Patients club with patients with psychotic disorders. The workshops are adjusted for people with psychotic disorders to enable them to strengthen their sense of self, to empower them and to express their authentic feelings in a safe environment.
Results
The artwork of people who have taken part in the art therapy programmes for psychosis of the University psychiatric hospital „Sveti Ivan“ will be presented and will serve as an example of an art therapy process, therapeutic goals, as well as the significance of this method for psychotic disorders.
Conclusions
Art therapy can be of great benefit for people with psychosis both on acute wards and as a long-term therapy.
Disclosure
No significant relationships.
For the first time the article substantiates the informational understanding of culture on the basis of a systematic interdisciplinary approach and takes into account the information content as such ...and cultural content in the dialectical unity of information flows, including hostile, with further proposals for such information understanding. in the national security of Ukraine and democracies. The connection of relations in the sphere of culture, on the one hand, and in information, on the other hand, at the theoretical level, in normative regulation and in practical activity is established. Theoretically, based on the principle of evolutionism, it should be assumed that the information exchange, genetically determined, between individuals of the animal world occurs in the pre-human period. In the process of evolution and anthropogenesis, the result of cultural work is the creation, processing, assimilation, dissemination and transmission of information that has a non-biological, non-genetic nature. The objectivity of the relationship between relations in the field of culture, on the one hand, and relations in the field of information, on the other, creates appropriate relations at the level of administrative and legal regulation of these relations. This unity of administrative and legal regulation makes it possible to determine, by means of the same or similar principles, the legality of restrictions or the absence of grounds for such restrictions and on the basis of the principles of the 1950 European Convention. For the first time, from the point of view of the requirements of the European Court of Human Rights, the legality of restrictions on the introduction into the Ukrainian information space of information and cultural product of the Russian Federation as an aggressor waging an information war against Ukraine was analyzed and substantiated.
Water is a slippery subject: its visual and material properties spur intellectual inquiry and spiritual reverie; its fluctuating form repels categorization and confounds claims of ownership as it ...crosses property lines and national borders; and river and ocean currents facilitate commercial exchange along with environmental exploitation.
During the two last decades of the nineteenth century, open-air painting became increasingly common in the United States. Beyond its popular appeal, the practice served for many artists as an ...important catalyst for change, reflecting a wide array of cultural shifts outside the discipline. This article examines the central role of open-air painting in the formation and regeneration of American art between 1880-1900 and approaches the genre not only as a practice but as an epistemological tool. It focuses on how turn-of-the-century painters in the northeastern United States employed open-air painting to converse with the broad notion of openness and associated ideas such as directness, truth, expansion, space, the elimination of barriers, and artistic freedom. This paper scrutinizes how these ideas came together with the practice of open-air painting to formulate a distinctive sensual, perceptual, and mental experience among both artists and contemporary viewers. While referring to a range of leading Gilded Age artists, the paper focuses primarily on four influential painters: William Merritt Chase (1849–1916), John Henry Twachtman (1853–1902), Winslow Homer (1836–1910), and Albert Pinkham Ryder (1847–1917). Through open-air painting, each artist performs their own artistic approaches to and ideas about what openness is and what it stands for, and, although each articulates a different aspect of it, they all assume the 'state of openness' as a central axis. This lies at the heart of open-air painting's major contribution as a practice that was re-evaluated and valorized within North American art, and which has not yet received the attention it is due.
For more than ten years, artist Marie Lorenz has been creating a work of art called the Tide and Current Taxi. For this project, Lorenz transports one to four passengers along the myriad waterways of ...New York City (and occasionally other destinations) in a small boat made by the artist.
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