Journal articles: 'Monochrom (Group of artists'

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Cole, Thomas B. "Group of Artists." JAMA 307, no. 7 (February 15, 2012): 642. http://dx.doi.org/10.1001/jama.2012.99.

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Green, Alison. "Citizen Artists: Group Material." Afterall: A Journal of Art, Context and Enquiry 26 (January 2011): 17–25. http://dx.doi.org/10.1086/659292.

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Fowler, Joan. "Women Artists Action Group Seminar." Circa, no. 41 (1988): 26. http://dx.doi.org/10.2307/25557339.

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Cummins, Pauline. "The women artists action group." Women's Studies International Forum 11, no. 4 (January 1988): 403–4. http://dx.doi.org/10.1016/0277-5395(88)90093-3.

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Butler, Allison. "Earthworks: Visual Artists for the Earth Group." Leonardo 20, no. 2 (1987): 205. http://dx.doi.org/10.2307/1578353.

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Russell, Will G., and Michelle Hegmon. "Identifying Mimbres Artists." Advances in Archaeological Practice 3, no. 4 (November 2015): 358–77. http://dx.doi.org/10.7183/2326-3768.3.4.358.

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AbstractPast researchers have identified individual styles of painting in Mimbres Black-on-white bowls, leading Steven LeBlanc to recently call for the development of quantitative methods to enable and assess such identifications. We propose such a methodology here. Through a process of pair-wise, micro-stylistic comparisons, bowls painted by a single artist or group of closely cooperating artists are analytically linked in chain-like fashion. Two bowls are attributed to the “same hands” if their similarity measure is at or above 70 percent. Similarity measures are determined by comparing minute details that reflect artistic decisions. The method takes into account diachronic development of artistic skill, subject matter diversity, and the transfer of style across generations. Results can contribute to an understanding of stylistic development, craft specialization, and the role of artists in traditional societies.

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Hanrahan, Stephanie J. "Sport Psychology and Indigenous Performing Artists." Sport Psychologist 18, no. 1 (March 2004): 60–74. http://dx.doi.org/10.1123/tsp.18.1.60.

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A group of students from the Aboriginal Centre for the Performing Arts participated in a mental skills training program that focused on goal setting, self-confidence development, and team building. There were 13 two-hour sessions held over a 20-week period. The participants, cultural issues, and the basic structure of the program are described. The author’s observations regarding competition, displays of affection, collective values, and the importance of family and nature are provided. The participants qualitatively evaluated the program. Conclusions related to group process, program structure, and diversity are presented. These conclusions should be of value in terms of shaping future group mental skills training programs.

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Winestein, Anna. "Artists at Play." Experiment 25, no. 1 (September 30, 2019): 328–45. http://dx.doi.org/10.1163/2211730x-12341346.

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Abstract The exhibition of Russian folk art at the Paris “Salon d’Automne” of 1913 has been generally overlooked in scholarship on folk art, overshadowed by the “All-Russian Kustar Exhibitions” and the Moscow avant-garde gallery shows of the same year. This article examines the contributions of its curator, Natalia Erenburg, and the project’s instigator, Iakov Tugendkhold, who wrote the catalogue essay and headed the committee—both of whom were artists who became critics, historians, and collectors. The article elucidates the show’s rationale and selection of exhibits, the critical response to it and its legacy. It also discusses the artistic circles of Russian Paris in which the project originated, particularly the Académie russe. Finally, it examines the project in the context of earlier efforts to present Russian folk art in Paris, and shows how it—and Russian folk art as a source and object of collecting and display—brought together artists, collectors, and scholars from the ranks of the Mir iskusstva [World of Art] group, as well as the younger avant-gardists, and allowed them to engage Parisian and European audiences with their own ideas and artworks.

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Robinson, Susan. "Paintings of Fluorite from a Select Group of Artists." Rocks & Minerals 88, no. 1 (January 2013): 66–71. http://dx.doi.org/10.1080/00357529.2013.747918.

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Okeke, C. "The Sensitive Line: Seven artists of the nsukka group." Nka Journal of Contemporary African Art 1998, no. 8 (March 1, 1998): 54–57. http://dx.doi.org/10.1215/10757163-8-1-54.

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Feser, Frauke. "The visiting artist researcher experiment." Journal of Science Communication 14, no. 01 (March 31, 2015): C02. http://dx.doi.org/10.22323/2.14010302.

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The visiting artist researcher experiment discussed here brought together visual artists and climate scientists, amongst them my research group which studies storms. The artists’ stay led to a dialogue between our diverging perspectives and an open exchange of ideas. The exchange in my research group was more interactive than I had expected. Many conversations provided insights into ideas and work flows of the artists and, eventually, a new view on our storm studies.

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Lake, Susan. "The Challenge of Preserving Modern Art: A Technical Investigation of Paints Used in Selected Works by Willem de Kooning and Jackson Pollock." MRS Bulletin 26, no. 1 (January 2001): 56–60. http://dx.doi.org/10.1557/mrs2001.20.

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Willem de Kooning (1904–1997) and Jackson Pollock (1912–1956) are perhaps the best-known members of the abstract expressionist movement, a group of diverse artists from disparate backgrounds who radically transformed American art during the 1940s and into the 1950s. While the development and legacy of abstract expressionism remains a subject of considerable debate, what this diverse group of artists had in common was the belief that the materials, and the ways the artists applied them, are crucial to the expression of their art.

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Vašíčková, Kateřina, Andrea Mikotová, and Lucie Šilerová. "Stress in Music Managers and Artists: Pilot study on Czech and Slovak Students." Zeitschrift für Kulturmanagement 4, no. 1 (May 1, 2018): 133–44. http://dx.doi.org/10.14361/zkmm-2018-0108.

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AbstractThe aim of the presented study was to do a pilot research on the comparison of the incidence of stress in a group of students of music management and art of music. We examined whether artists and music managers differ in the perception of the intensity of stress when playing (working) solo from the intensity when playing (working) in group. Furthermore, we focused on the most common stressors and main stress symptoms among music managers and artists. Total 63 students of music, cultural or art management (average age 28.6 years; 69.8 % were women) and 75 students of art of music (average age 26.7 years; 64 % were women) filled out an online questionnaire in the spring of 2016. The results show that while artists reported higher stress levels when playing solo, music managers reported higher stress levels when working in a group. A closer look showed that while only a few music managers (4,8 %) are intensely stressed when working in a team, a considerable group of artists (26 %) stated that they were most stressed out when playing solo. As their main work stressors artists mentioned blackouts, unpreparedness, and audience, music managers listed flaws in the human factor, time pressure and financial problems. Stress symptoms among artists are mainly physiological and short-term but at the same time intensive, while stress symptoms among music managers are rather long-term and related to psyche, and relationships with others.

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Peffer-Engels, John, and Simon Ottenberg. "New Traditions from Nigeria: Seven Artists of the Nsukka Group." African Arts 32, no. 2 (1999): 12. http://dx.doi.org/10.2307/3337596.

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Ardelt, Monika, and Lucinda Orwoll. "DOES AGE AFFECT CREATIVE PROCESS AND STYLE? A COMPARISON OF OLDER AND YOUNGER VISUAL ARTISTS." Innovation in Aging 3, Supplement_1 (November 2019): S417—S418. http://dx.doi.org/10.1093/geroni/igz038.1558.

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Abstract This study investigated differences in the creative process and style between 85 older (age 60-89 years, M=72.39) and 63 younger (age 27-58 years, M=41.95) visual artists who were nominated as artistically creative exemplars. Answers to open-ended survey questions were coded and compared by age group. Results of t-tests showed that the described creative process and style were similar for older and younger artists, with many being inspired by their environment or ideas and engaging in an intuitive and visual style. However, younger artists were more likely than older artists to be inspired by ideas, words, life, and the work process and to use an intuitive, expressionistic, eclectic, spiritual, and textured style. Interestingly, younger artists were more likely to believe that older artists have greater artistic experience, maturity, willingness to take risks, and understanding of the art world, whereas older artists tended to think that young artists are more original.

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Ittu, Gudrun-Liane. "Siebenbürgisch-deutsche Künstlerinnen vom Ende des 19. und Anfang des 20. Jahrhunderts." Studia Universitatis Babeș-Bolyai Historia Artium 65, no. 1 (December 31, 2020): 127–55. http://dx.doi.org/10.24193/subbhistart.2020.07.

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"Transylvanian German women artists from the end of the 19th and beginning of the 20th century. The paper is aiming at analyzing the life and art of a group of six German women artists from Transylvania, the first ones who studied abroad, real forerunners for the next generation of female plastic artists. Emancipated ladies, determined to become artists and earn their own money, the gifted women studied in Budapest, Vienna, Munich or Paris. Only Molly Marlin did not come back home, while the others had a prodigious artistic and pedagogical activity, being present at the annual exhibitions, together with well-known male colleagues. Keywords: art academies, women artists, painters, graphic artists, art teachers, exhibitions, Sibiu, Betty Schuller, Hermine Hufnagel, Molly Marlin Horn, Anna Dörschlag, Lotte Goldschmidt, Mathilde Berner Roth "

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Grube, Katherine. "Labouring bodies: Big Tail Elephants in 1990s Guangzhou." Journal of Contemporary Chinese Art 7, no. 2-3 (December 1, 2020): 201–19. http://dx.doi.org/10.1386/jcca_00026_1.

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Big Tail Elephant Working Group (daweixiang gongzuo zu, hereafter BTE) is synonymous with the city of Guangzhou and the surrounding Pearl River Delta. Formed in 1991, the group is most closely associated with the artists Chen Shaoxiong (1962–2016), Liang Juhui (1959–2006), Lin Yilin (1964–) and Xu Tan (1957–). This article re-examines BTE artists’ practice from 1991 to 1994 and argues that the artist’s performing body provides the critical lens through which to understand BTE artists’ work during this time. Acknowledging that the experience of BTE’s work was primarily physical, embodied and performative allows for an important reconsideration of not only their works but also the predominant ways in which the global capitalist ‘turn’ in the 1990’s China has been discussed in art historical writing. This article argues that BTE artists were primarily interested in urban forms for what they signified about commercialization as a form of a new political rationality after 1989 and suggests that BTE artists were ultimately concerned with commodification’s transformation of society and of ideas of cultural value.

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Borowska, Marta. "Wystawy Związku Plastyków Pomorskich i Grupy Plastyków Pomorskich w Muzeum Miejskim w Bydgoszczy w latach 1930–1936." Porta Aurea, no. 17 (November 27, 2018): 133–61. http://dx.doi.org/10.26881/porta.2018.17.06.

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The displays of particular artistic associations in the Municipal Museum in Bydgoszcz between 1930 and 1936 are being discussed. The history of Pomeranian artistic associations is not a well-known subject, and no dedicated monographs have been written to date. It appears commonly in the history of the regional chapter of the Polish Association of Visual Artists (Związek Polskich Artystów Plastyków) located in Bydgoszcz. The basic sources include the Archive of the Leon Wyczółkowski District Museum in Bydgoszcz and information contained in Polish press of the period in question. There were two main goals to be achieved for the Pomeranian artists: while aspiring to equal the art represented by more important artistic centres of the country, to show a close connection with their own region and its Polish heritage. During the interwar period, a number of artistic organisations appeared in Bydgoszcz. The most significant were the local branch of the Society for the Encouragement of the Fine Arts (Towarzystwo Zachęty Sztuk Pięknych), established in September 1921, and the Artistic and Cultural Council (Rada Artystyczno-Kulturalna), founded in December 1934. The first exhibition of the Pomeranian Association of Visual Artists (Związek Plastyków Pomorskich) was opened in December 1930 as a summary of the Association’s achievements of that year. It comprised 92 works by 15 artists. Subsequent exhibitions in December 1931 and December 1932 served a similar purpose. The turning point in the history of Pomeranian artistic associations took place in 1933 when – as a result of an internal conflict – the Group of Pomeranian Visual Artists (Grupa Plastyków Pomorskich) was formed. The Group quickly became the leading artistic force of the region, with their first exhibition opening in December 1933. The 4th annual exhibition of the Group of Pomeranian Visual Artists took place in December 1934, simultaneously with the founding of the Artistic and Cultural Council (Rada Artystyczno-Kulturalna) in Bydgoszcz. The Council coordinated, implemented, and documented artistic movements in specially dedicated sections for literature, music, visual arts and radio, quickly becoming an intermediary between artists and their audience. Tanks to their efforts, the first Salon Bydgoski exhibition was organised in 1936. That very year the Group of Pomeranian Visual Artists changed their name to the Group of Visual Artists of Bydgoszcz. Both organizations lacked a well-defined artistic programme, whereas their members were mainly connected for non-artistic motivations, such as the possibility to exhibit their works in well-known institutions or prestige. All of the discussed displays were widely covered in the local press, especially by Henryk Kuminek and Marian Turwid, two leading art critics of the region.

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Sandberg, Berit. "Art Hacking for Business Innovation: An Exploratory Case Study on Applied Artistic Strategies." Journal of Open Innovation: Technology, Market, and Complexity 5, no. 1 (March 14, 2019): 20. http://dx.doi.org/10.3390/joitmc5010020.

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Despite a growing interest in the effects of arts-based interventions on organizational change, concepts aiming at business innovation and product development other than residencies are rare. Furthermore, little is known about the role and impact of artists involved in idea-generating formats. How does the personal presence of artists in a heterogenous working group influence the procedure? To what extent do artists unfold their creative qualities while dealing with such a non-artistic challenge? The paper introduces a method named Art Hacking that applies professional labour attitudes typical for artists and artistic modes of thinking to business problems and enhances the approach by having artists attend the whole intervention. One of these events was taken as a case for exploring the role of four artists in the collective idea-generation process. The results of participatory observation along critical incident technique substantiate the thesis that in interdisciplinary “playgrounds” artists implicitly become process leaders. They are catalysts for awareness, sensemaking and change of perspective.

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Reagan, Trudy Myrrh. "Ylem: Serving Artists Using Science and Technology, 1981–2009." Leonardo 51, no. 1 (February 2018): 48–52. http://dx.doi.org/10.1162/leon_a_01192.

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YLEM: Artists Using Science and Technology, a nonprofit group in the San Francisco Bay Area, was active from 1981 to 2009, publishing the YLEM Newsletter (later, the YLEM Journal). In the 1990s, it published the Directory of Artists Using Science and Technology, illustrated with members’ work, and established its website, < www.ylem.org >. YLEM’s public Forums introduced artists to science, scientists to art and the general public to new artistic and technological expression. It organized field trips to laboratories, industrial sites and artists’ studios and mounted exhibitions of members’ work. Members’ friendships mutually encouraged their work in this new arena.

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Jegede, Dele. "New Traditions from Nigeria: Seven Artists of the Nsukka Group:New Traditions from Nigeria: Seven Artists of the Nsukka Group." American Anthropologist 102, no. 2 (June 2000): 400–402. http://dx.doi.org/10.1525/aa.2000.102.2.400.

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Mon, Nor Suliana Mak, Siti Zuraida Maaruf, and Akmal Ahamed Kamal. "The Development of Artique - Independent Artists and Online Art Criticism." European Journal of Social & Behavioural Sciences 30, no. 2 (April 30, 2021): 3358–68. http://dx.doi.org/10.15405/ejsbs.293.

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Learning art online breaks the geographical barriers and frontiers between art students, artists, galleries, and museums. Studio critique can now be performed beyond the brick walls of a physical room through the virtual platform. This research studies on the impact of art criticism in an online gallery for independent artists which was developed through the design and development method (DDR) while Visual Culture Model was employed for Phase One in the Needs Analysis. The positive feedback obtained from five independent artists who participated in the research revealed that it is common for artists to use social networking sites as avenues for art criticism. The use of social networking sites is common among artists and regarded as valuable in their field. The respondents are supportive in the development of an online group for art criticism that could fortify their creativity and ultimately their artworks. Hence, the findings of the interview suggest that a social networking site like ARTIQUE would be a progressive platform for artists’ professional development.

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Kim, Hyunjoo. "Solidarity and Art Practice as Involvement of “Feminist Artists Group IPGIM”." Art History Forum 42 (June 30, 2016): 161–93. http://dx.doi.org/10.14380/ahf.2016.42.161.

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Robertson, Jack. "The exhibition catalog as source of artists’ primary documents." Art Libraries Journal 14, no. 2 (1989): 32–36. http://dx.doi.org/10.1017/s0307472200006210.

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Exhibition catalogs and related ‘ephemera’ frequently include statements by artists which can be regarded as primary documents. Artists’ statements which are included in catalogs of group exhibitions tend to be relatively difficult to access and so are easily overlooked, while statements included in ephemeral publications associated with group exhibitions are virtually irretrievable even when such material is retained by libraries. Some help is available from published bibliographies and online databases; more thorough cataloging procedures are also available.

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Frohnapfel, David. "Notes on How to Irritate a Group of Committed Artists: Politics of Emotions at the Ghetto Biennale in Port-au-Prince." Space and Culture 23, no. 1 (August 22, 2019): 61–76. http://dx.doi.org/10.1177/1206331219871435.

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The Ghetto Biennale was founded in 2009 by British photographer, filmmaker, and curator Leah Gordon in collaboration with members of the Haitian artist group Atis Rezistans. The biennale is rooted in considerations around contemporary art as a place of klas privilege and social exclusion. The organizers took on the complicated task of bringing together artists from different socioeconomic strata in a short-time residency project in an informal neighborhood. Many of the visiting artists produce art that can be described as a socially engaged artistic praxis. By analyzing the Ghetto Biennale as a curated social situation that produces artistic poverty tourism, I discuss the varied hierarchical inter- klas relationships between the participating visiting and local Haitian artists. These relationships are often informed, I argue, by the politics of pity and a competitive sentiment of touristic shame that produces in return critical suspicion and a spiral of moral accusation within the visiting artistic milieu: Who collaborates most sincerely and decently with inhabitants of a neighborhood living in abject poverty? The visiting artists try to escape this spiral by self-censoring all potential self-interests in their praxes through a renunciation of authority and authorship and by declaratively presenting their projects as altruistic spaces of community empowerment that give a voice to “subaltern” artists. The members of Atis Rezistans in this narrative are seen to be constantly at risk of further marginalization by powerful actors from higher socioeconomic strata. But they actively deploy their own agency by negotiating these politics of pity for their own socioeconomic benefits.

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Szmidt, Krzysztof J., and Monika Modrzejewska-Świgulska. "Together or Separately: Dilemmas of Group Work in Professional Creativity." Creativity. Theories – Research - Applications 7, no. 1 (January 1, 2020): 1–26. http://dx.doi.org/10.2478/ctra-2020-0001.

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Abstract The main purpose of the paper is to provide a concise account of the advantages and disadvantages of group work in the activity of professional artists cooperating in various creative teams. The analyzed data comes from three different sources: the authors’ own experience gained through their work as part of various focus groups, other authors’ research results found in the publications on creatology, and the authors’ own investigative work. The aspects of teamwork (group mind) as well as limitations and drawbacks of team work in groups (group thinking) are discussed in the first part of the paper. The second part describes select results of research conducted over the last few years among Polish female artists and film and theatre directors working on joint projects in creative teams. The study examined the determinants of the women’s creative careers. The final section includes a number of conclusions that aim to answer the question posed in the title of the paper.

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López-Piñeiro, Sergio. "Reconsidering the enabling architect." Architectural Research Quarterly 14, no. 3 (September 2010): 286–88. http://dx.doi.org/10.1017/s1359135510001119.

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A trade can be of two types depending on the observation skills of its workers: deception managers or truth revealers. The first group is composed of spies, con artists and negotiators: all of them try to show what is not while ambiguously hiding what really is. Artists mainly define the second group: for them, an artistic product only works when it opens up the reality it aims to describe. Art is or is not. There is no middle ground: period.

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Snyder, Allan W., and Mandy Thomas. "Autistic Artists Give Clues to Cognition." Perception 26, no. 1 (January 1997): 93–96. http://dx.doi.org/10.1068/p260093.

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Certain autistic children whose linguistic ability is virtually nonexistent can draw natural scenes from memory with astonishing accuracy. In particular their drawings display convincing perspective. In contrast, normal children of the same preschool age group and even untrained adults draw primitive schematics or symbols of objects which they can verbally identify. These are usually conceptual outlines devoid of detail. It is argued that the difference between autistic child artists and normal individuals is that autistic artists make no assumptions about what is to be seen in their environment. They have not formed mental representations of what is significant and consequently perceive all details as equally important. Equivalently, they do not impose visual or linguistic schema—a process necessary for rapid conceptualisation in a dynamic existence, especially when the information presented to the eye is incomplete.

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KEMPLEY, EILÍS. "Julian Trevelyan, Walter Maclay and Eric Guttmann: drawing the boundary between psychiatry and art at the Maudsley Hospital." British Journal for the History of Science 52, no. 4 (October 1, 2019): 617–43. http://dx.doi.org/10.1017/s0007087419000463.

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AbstractIn 1938, doctors Eric Guttmann and Walter Maclay, two psychiatrists based at the Maudsley Hospital in London, administered the hallucinogenic drug mescaline to a group of artists, asking the participants to record their experiences visually. These artists included the painter Julian Trevelyan, who was associated with the British surrealist movement at this time. Published as ‘Mescaline hallucinations in artists’, the research took place at a crucial time for psychiatry, as the discipline was beginning to edge its way into the scientific arena. Newly established, the Maudsley Hospital received Jewish émigrés from Germany to join its ranks. Sponsored by the Rockefeller Foundation, this group of psychiatrists brought with them an enthusiasm for psychoactive drugs and visual media in the scientific study of psychopathological states. In this case, Guttmann and Maclay enlisted the help of surrealist artists, who were harnessing hallucinogens for their own revolutionary aims. Looking behind the images, particularly how they were produced and their legacy today, tells a story of how these groups cooperated, and how their overlapping ecologies of knowledge and experience coincided in these remarkable inscriptions.

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Lawson, Carl J. "Mortality in American Hip-Hop and Rap Recording Artists, 1987–2014." Medical Problems of Performing Artists 30, no. 4 (December 1, 2015): 211–16. http://dx.doi.org/10.21091/mppa.2015.4039.

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BACKGROUND: The deaths of American hip-hop and rap recording artists often receive considerable media attention. However, these artists’ deaths have not been examined as a distinct group like the deaths of rock, classical, jazz, and pop music artists. This is a seminal epidemiological analysis on the deaths of an understudied group, American hip-hop and rap music recording artists. METHODS: Media reports were analyzed of the deaths of American hip-hop and rap music recording artists that occurred from January 1, 1987 to December 31, 2014. The decedents’ age, sex, race, cause of death, stage names, and city and state of death were recorded for analysis. RESULTS: The most commonly reported cause of death was homicide. The 280 deaths were categorized as homicide (55%), unintentional injury (13%), cardiovascular (7%), undetermined/undisclosed (7%), cancer (6%), other (5%), suicide (4%), and infectious disease (3%). The mean reported age at death was 30 yrs (range 15–75) and the median was 29 yrs; 97% were male and 92% were black. All but one of the homicides were committed with firearms. CONCLUSIONS: Homicide was the most commonly reported cause of death. Public health focus and guidance for hip-hop and rap recording artists should mirror that for African-American men and adolescent males ages 15–54 yrs, for whom the leading causes of death are homicide, unintentional injury, and heart disease. Given the preponderance of homicide deaths in this analysis, premature mortality reduction efforts should focus on violence prevention and conflict mitigation.

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Bramantijo, Bramantijo. "Menjelajah Kultur Majapahit, Mencari â€œIdentitasâ€ Seni Rupa Kontemporer Jawa Timur." Jurnal Budaya Nusantara 1, no. 1 (January 1, 2017): 31–43. http://dx.doi.org/10.36456/b.nusantara.vol1.no1.a989.

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The identity of Indonesian art is loaded with political contents in the interests of harmony. Indentity becomesthe differentiator and positioning in artwords. East Java gets the fortunes to be the locus of Majapahit and heritage ofthe Majapahit culture, but the atmosphere of contemporary art gives artists of freedom to explore the variety oftraditional cultures in various loci and make as identity. The sole recognition of a culture by a group community is nolonger relevant. The other way, it occurs the ability of artists to discover the characteristics of traditional cultures and topresent it typically as a differentiator with other artists.

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Golan, Romy. "Vitalità del negativo/Negativo della vitalità." October 150 (October 2014): 113–32. http://dx.doi.org/10.1162/octo_a_00203.

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Vitalità del negativo nell'arte italiana 1960/70, an exhibition that occupied the ground floor of the monumental Palazzo delle Esposizioni from November 30, 1970, to January 31, 1971, revived an ideologically loaded site in Rome under the mantle of contemporary art. Curated by Achille Bonito Oliva, it featured thirty-four Italian artists from a wide range of schools and mediums: painters from the Scuola di Piazza del Popolo (the Roman school of Pop); members of the ′60s Milanese group Azimut; kinetic environments by Padua's Gruppo N and Milan's Gruppo T; artists from Arte Povera; and other, more idiosyncratic installation artists.

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Sadana, Divya, Jamuna Rajeswaran, Sanjeev Jain, Senthil Kumaran, K. Thennarasu, Ravi S, and N. Sundar. "THE NEUROPSYCHOLOGY OF CREATIVITY: A PROFILE OF INDIAN ARTISTS." Acta Neuropsychologica 15, no. 2 (June 28, 2017): 0. http://dx.doi.org/10.5604/01.3001.0010.2406.

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[b]Background: [/b]The present study aims at comparing the cognitive profile of creative artists and non-creative participants. We assessed creativity correlates by taking a sample of professionally creative artists unlike those previous studies conducted with college students or which employed biographical data from eminent creators who form a rare and extreme group on the continuum of creativity.[b]Material/ Methods: [/b]A matched control design with cross sectional assessment was used for the study. The study sample comprised two groups – Creative group (CR) and matched Non-creative group (NC) with 30 participants each. All participants were in the age range of 20-40 years and had a minimum average intelligence (IQ score &amp;gt;90). Screening measures included the Edinburgh Handedness Inventory, Raven’s Standard Progressive Matrices and the Creativity Achievement Questionnaire used to select pro C creative individuals for the creative group. NIMHANS Neuropsychological Battery (Rao et al, 2004) was used to assess the comprehensive cognitive profile (domains of speed and attention; executive functions; learning &amp;amp; memory) of the participants. The Battery comprises globally recognized neuropsychological tests which have been standardized for the Indian population.[b]Results: [/b]It was found that CR group had statistically significant higher scores on focused attention, category fluency, design fluency (both free and fixed), visuo-spatial working memory (medium effect size), set shifting ability, response inhibition and verbal memory. A significant positive correlation was found between intelligence, mental speed, focused attention, category fluency, design fluency (both free &amp;amp; fixed), set shifting, response inhibition, verbal memory and all components of creativity.[b]Conclusions:[/b]The present study elucidates the functions associated with creativity. It was possible to identify creative individuals, one to one matching across both the groups, thereby controlling the influence of age, gender and education; using a standardized and comprehensive battery to assess cognitive functions and statistical rigor in analyzing the data.

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Mason, Helen, and Lyn Robinson. "The information‐related behaviour of emerging artists and designers." Journal of Documentation 67, no. 1 (January 18, 2011): 159–80. http://dx.doi.org/10.1108/00220411111105498.

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PurposeThis paper aims to report an empirical study of the information‐related behaviour of emerging artists and designers. It also aims to add to understanding of the information behaviour of the group both as practising artists (a little understood category of information users), and also as “new practitioners”.Design/methodology/approachA literature analysis is used to guide creation of an online questionnaire, eliciting both qualitative and quantitative data. A total of 78 practising artists participated, all having graduated in the seven years prior to the survey.FindingsThe group have generally the same information practices as more established artists. They place reliance on internet and social networks, while also using traditional printed tools and libraries. Browsing is important, but not a predominant means of accessing information. Inspiration is found from a very diverse and idiosyncratic set of sources, often by serendipitous means. Their status as emergent practitioners means that their information behaviour is governed by cost factors, and by needs for career advice and interaction with peers.Research limitations/implicationsThe study group are a convenience sample, all having access to the internet. No observation or interviews were carried out.Practical implicationsThe results will provide guidance to academic and public librarians serving artist users, and to those providing career advice to them. It will also be valuable to those providing services to “new practitioners” in any field.Originality/valueThis is one of a very few papers reporting empirical studies of the information behaviour of artists, and has the largest sample size of any such study. It is one of a very few papers considering the information needs and behaviour of new practitioners.

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Greengross, Gil, and Rod A. Martin. "Health among humorists: Susceptibility to contagious diseases among improvisational artists." HUMOR 31, no. 3 (July 26, 2018): 491–505. http://dx.doi.org/10.1515/humor-2017-0054.

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Abstract There is a widely held belief that humor contributes to better health, but the research on this topic yields mixed results. To assess the relationship between humor and health, we compared the susceptibility to various infectious diseases of 511 comedy performers (amateur improvisational artists) and a control group of 795 non-performers that were matched to the comedy performers sample in age and sex. Subjects reported the number of episodes and the total days they had had various infectious diseases. Contrary to the prevailing sentiment that humor boosts health, results showed that the comedy performer group reported more frequent contagious diseases and more days having these infections diseases, compared to the control group. Improv artists had significantly more infections and reported more days infected than the control group on respiratory infections, head colds, stomach or intestinal flu, skin infections, and autoimmune diseases. The control group had significantly more bladder infections with non-significant difference on days infected. Results held after controlling for BMI, age, number of antibiotics used and neuroticism. We found no evidence that humor positively contributes to health, and a career in a humor-related profession may be detrimental to one’s health. Our research highlights the complex relationship between humor and health outcomes.

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Wenderski, Michał. "FROM ŁÓDŹ TO LEIDEN – ON INTERNATIONAL CONNECTIONS OF THE POLISH INTERWAR AVANT-GARDE." Muzealnictwo 59 (September 21, 2018): 203–10. http://dx.doi.org/10.5604/01.3001.0012.5067.

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This article is dedicated to international connections between selected representatives of Polish and Western avant-gardes in art and literature of the interwar period. Both the nature and the scale of such relations have been exemplified by a number of artists from the “a.r.” group – Katarzyna Kobro, Władysław Strzemiński, Henryk Stażewski and Jan Brzękowski, as well as their relationships with the representatives of Dutch and Belgian formations, inter alia “De Stijl” group. The origin of those connections has been briefly presented, along with their nature, dynamics and an impact they made on artworks and theories of chosen artists. Their description is based on archival documents and publications, from which a picture of direct relationships between the leading artists of the European avant-garde emerges – some of them personal, some correspondence-based; they have also been presented in form of a diagram that illustrates the text.

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Leigh, Allison. "Vasilii Maksimov: Individuality and Collectivism in Pëtr Krestonostsev’s Artel of Artists." Russian History 46, no. 4 (December 23, 2019): 262–75. http://dx.doi.org/10.1163/18763316-04604005.

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Abstract This essay explores the circumstances which led the Russian painter Vasilii Maksimov to compose an unusual group portrait in the early months of 1864. The work was painted shortly after fourteen students withdrew from the Imperial Academy of Arts in St. Petersburg and formed a cooperative association known as the St. Petersburg Artel of Artists, a commune spearheaded by the painter Ivan Kramskoi. Shortly after these events, Maksimov would join an Artel of artists established by the Academy graduate Pёtr Krestonostsev. Few scholars discuss this Artel but exploring the ways it mirrored collective ideals for artistic practice then prevalent in Paris sheds light on how homosocial networks of support rose to the fore in this historical moment. Maksimov’s 1864 group portrait records the productive conflict that resulted from artists’ desire to work with one another through discourse and collaboration in both eastern and western Europe in the period.

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Hume, Naomi. "Avant-Garde Anachronisms: Prague's Group of Fine Artists and Viennese Art Theory." Slavic Review 71, no. 3 (2012): 516–45. http://dx.doi.org/10.5612/slavicreview.71.3.0516.

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The Czech Group of Fine Artists published their journal, Umělecký měsíčník (Art Monthly, 1911-1914) to justify their abstraction and their interest in French cubism in response to criticism that denigrated their work as incomprehensible and foreign. In this article, Naomi Hume argues that the Group's strategy was fundamentally at odds with how avantgardes have been understood to operate in scholarship on modernism. Rather than asserting a break with the past, the Group applied new Viennese art historical approaches—particularly those of Alois Riegl, Max Dvořák, and Vincenc Kramář—to draw parallels between their work and prior art objects that departed from mimesis. They equated their radical style with what Riegl called anachronisms in art's development, moments when an independent will to form emerges from the mainstream. By bringing French cubist ideas into dialogue with the inherent spirituality of their own national tradition, the Group saw themselves as reinvigorating Czech art.

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Barker, Keegan K., Sophie Soklaridis, Ian Waters, Gabriella Herr, and J. David Cassidy. "Occupational strain and professional artists: A qualitative study of an underemployed group." Arts & Health 1, no. 2 (September 2009): 136–50. http://dx.doi.org/10.1080/17533010903031390.

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Hardman, D. T. A., M. I. Patel, and L. Delbridge. "TEACHING NORMAL PHYSICAL EXAMINATION IN A LARGE-GROUP INTERACTIVE USING ARTISTS’ MODELS." ANZ Journal of Surgery 67, no. 7 (July 1997): 468–71. http://dx.doi.org/10.1111/j.1445-2197.1997.tb02015.x.

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Tompson, J. E. ""Point from which Creation Begins": The Black Artists' Group of St. Louis." Journal of American History 92, no. 4 (March 1, 2006): 1514–15. http://dx.doi.org/10.2307/4486027.

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Cooper, B. Lee. "Doo Wop: The R&B Vocal Group Sound, 1950–1960, by Various Artists; Doo Wop: The Rock & Roll Vocal Group Sound, 1957–1961, by Various Artists." Popular Music and Society 37, no. 4 (September 2, 2013): 513–16. http://dx.doi.org/10.1080/03007766.2013.835918.

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Rafiq qızı Əliyeva, Vüsalə. "Artistic solution of Absheron’s theme in Jalal Agayev’s work." SCIENTIFIC WORK 66, no. 05 (May 20, 2021): 164–67. http://dx.doi.org/10.36719/2663-4619/66/164-167.

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There is a group of artists in contemporary Azerbaijani fine arts, whose creative works focus on the theme of Absheron. For half a century, this theme has defined the style of most of our artists with its specificity, rich ethnography, national harmony and lyrics. Jalal Aghayev is one of such artists, and the theme of Absheron covers a large part of his creative work. The inexhaustible love for the land of Absheron has been rooted in the artist's heart since childhood. This love led the artist to create a series of beautiful works on this subject. Key words: landscape, Absheron, painting, tradition, plot, composition, decorative

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Springs, Stacey, and Jay Baruch. "Artists on the Research Team: An Interdisciplinary Approach to Team Science, Research Rigor, and Creative Dialogue." Health Promotion Practice 22, no. 1_suppl (May 2021): 83S—90S. http://dx.doi.org/10.1177/1524839921996301.

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In an arts in public health research team, artists may be undervalued as key research collaborators because of the difficulties in skillful integration of experts who possess not only different bodies of knowledge but also different ways of examining and valuing the world. Under the stewardship of two Rhode Island state agencies, an innovative research-driven enterprise, comprising researchers, clinicians, and community artists, was brought together to integrate arts-based interventions into statewide public health policy and practice. Here, we examine our work with the Rhode Island Arts and Health Advisory Group as a case study to illuminate our experiences in collaborating with artists on public health policy and practice research. Using existing frameworks from the literature, we define the attributes of, and challenges to, successful research collaborations and identify from our work how these apply to interdisciplinary collaborations between artists and public health practitioners. To support others working at the nexus of arts in public health, we include key experiences that were specific to the engagement of artists in research teams.

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Braden, L. E. A. "Networks Created Within Exhibition: The Curators’ Effect on Historical Recognition." American Behavioral Scientist 65, no. 1 (October 15, 2018): 25–43. http://dx.doi.org/10.1177/0002764218800145.

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This research examines artist networks created by shared museum exhibition. While previous research on artistic careers assesses self-cultivated networks, historical recognition may be further influenced by connections created by important others, such as museum curators and art historians. I argue when museum exhibitions show artists together, curators are creating symbolic associations between artists that signal the artist’s import and contextualization within his or her peer group. These exhibition-created associations, in turn, influence historians who must choose a small selection of artists to exemplify a historical cohort. The research tests this idea through a cohort of 125 artists’ exhibition networks in the Museum of Modern Art, New York, from 1929 to 1968 (996 exhibitions). Individual network variables, such as number and quality of connections, are examined for impact on an artist’s recognition in current art history textbooks (2012-2014). Results indicate certain connections created by exhibition have a positive effect on historical recognition, even when controlling for individual accomplishments of the artist (such as solo exhibitions). Artists connected with prestigious artists through “strong symbolic ties” (i.e., repeated exhibition) tend to garner the most historical recognition, suggesting robust associations with historical peers may signify an artist’s exemplary status within his or her cohort, and consequent “good fit” into the historical narrative.

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Evans, Simon Chester, Claire Garabedian, Jennifer Bray, and Karen Gray. "Challenges and enablers for creative arts practice in care homes." Journal of Applied Arts & Health 10, no. 3 (December 1, 2019): 333–45. http://dx.doi.org/10.1386/jaah_00005_1.

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Abstract This article reports on the experiences of artists working in UK care homes across residencies that focused on poetry, dance and drama. Data were collected from reflective diaries and focus group discussions to explore the key challenges when working in settings that can be unfamiliar, complex and disruptive. We also describe a range of strategies that artists developed in response to these challenges (enablers) and how this supported successful delivery of their sessions. We conclude that artists need time and support to understand and adapt to the complexity of care homes, and conclude that ultimately the overarching culture of a care home is the key determinant of how successfully artists can facilitate the engagement of residents with meaningful creative activities. Experience of working with people living with dementia can be particularly valuable, as can knowing how to facilitate participation by residents with a range of sensory, physical and cognitive impairments.

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Tulk, Janice Esther. "Crafting a Fibre Scene in Cape Breton: The Tools, Technologies, and Motivations of the Unspun Heroes." Material Culture Review 87 (July 27, 2020): 1–19. http://dx.doi.org/10.7202/1070680ar.

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In the 21st century, spinning, knitting, and weaving are largely thought of as hobbies, pastimes, or small business activities. Despite the availability of mass-produced wool and fibre products, homespun and handmade products have seen a resurgence in popularity, partly because practitioner communities have developed. This article provides an ethnography of one such group, the Unspun Heroes in Cape Breton, Nova Scotia. Following a brief history of the group, the individually- and communally-owned tools and technology utilized within the Unspun Heroes is described. The forces that shape fibre artists’ access to tools and other resources of their craft in Cape Breton are identified, elucidating how strategies of shared, repurposed, and DIY tools enable fibre artists to sustainably engage in their craft. The motivations of members of the group are then considered, demonstrating how economic diversification strategies in Cape Breton have facilitated fibre arts, but are seldom the driving force for engagement in fibre arts and the Unspun Heroes group. In conclusion, the concept of “scene” is applied to the people, places, technologies, and connections described in this ethnography of the Unspun Heroes as a way of understanding the complex web of interactions and activities that plays out within and around the fluid membership of the group. This exploration demonstrates the innovative and entrepreneurial ethos of fibre artists in rural Canada.

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Bojić, Zoja. "The Slav Avant-garde in Australian Art." Poznańskie Studia Slawistyczne, no. 18 (April 28, 2020): 37–48. http://dx.doi.org/10.14746/pss.2020.18.2.

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Australian art history includes a peculiar short period during which the European avant-garde values were brought to Australia by a group of Slav artists who gathered in Adelaide in 1950. They were brothers Voitre (1919–1999) and Dušan Marek (1926–1993) from Bohemia, Władysław (1918–1999) and Ludwik Dutkiewicz (1921–2008) from Poland, and Stanislaus (Stanislav, Stan) Rapotec (1911–1997) from Yugoslavia, later joined by Joseph Stanislaus Ostoja-Kotkowski (1922–1994) from Poland. Each of these artists went on to leave their individual mark on the overall Australian art practice. This brief moment of the artists’ working and exhibiting together also enriched their later individual work with the very idea of a common Slav cultural memory.

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Preti, Antonio, Francesca De Biasi, and Paola Miotto. "Musical Creativity and Suicide." Psychological Reports 89, no. 3 (December 2001): 719–27. http://dx.doi.org/10.2466/pr0.2001.89.3.719.

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The different abilities involved in artistic creativity may be mirrored by differences among mental disorders prevalent in each artistic profession, taking poets, painters, and composers as examples. Using suicide rates as a proxy for the prevalence of mental disorders in groups of artists, we investigated the percentage of deaths by suicide in a sample of 4,564 eminent artists who died in the 19th and 20th centuries. Of the sample, 2,259 were primarily involved in activities of a linguistic nature, e.g., poets and writers; 834 were primarily visual artists, such as painters and sculptors; and 1,471 were musicians (composers and instrumentalists). There were 63 suicides in the sample (1.3% of total deaths). Musicians as a group had lower suicide rates than literary and visual artists. Beyond socioeconomic reasons, which might favour interpretations based on effects of health selection, the lower rate of suicides among musicians may reflect some protective effect arising from music.

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Rafalska-Łasocha, Alicja, Katarzyna Podulka, and Wiesław Łasocha. "XRPD investigations of “Prussian blue” artists’ pigment." Powder Diffraction 26, no. 1 (March 2011): 39–47. http://dx.doi.org/10.1154/1.3554269.

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The compound NH4Fe[Fe(CN)6]·xH2O—a commercially available “Prussian blue” pigment—crystallizes in theFm3m space group,a=10.232(1) Å, based on X-ray powder diffraction (XRPD) data. XRPD investigations of other commercially available “Prussian blue” pigments and oil paints were undertaken. Results for the pigments showed that the XRPD techniques were able to differentiate several different Prussian blue phases that differed only slightly in chemical compositions. Results for the oil paints allowed for the determination of the major crystalline phases used as fillers. However, on the basis of XRPD investigations of oil paints prepared in our laboratory containing a mixture of true Prussian blue Fe4[Fe(CN)6]3·14H2O and BaSO4(a common filler), the pigment was detectable only in concentrations higher than 2%. This result suggests that XRPD may not be a preferred technique for the identification of Prussian blue in paintings and other works of art because the concentration of this pigment in such materials is commonly less than 2%.

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Journal articles on the topic 'Monochrom (Group of artists'

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