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Artículos de revistas sobre el tema "Mavo (Groups of artists)"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 29 de julio de 2025

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1

Munroe, Alexandra. "Mavo: Japanese Artists and the Avant-Garde 1905-1931 (review)." Journal of Japanese Studies 30, no. 1 (2004): 215–19. http://dx.doi.org/10.1353/jjs.2004.0027.

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2

Appel, René. "Mustafa op de Mavo." Nederlands als tweede taal 22 (January 1, 1985): 65–72. http://dx.doi.org/10.1075/ttwia.22.06app.

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In this article the results of an explorative study of the Dutch language proficiency of advanced second-language learners are presented. The proficiency in Dutch of a group of 17 students from non-indigeneous linguistic minority groups was compared with the Dutch proficiency of 17 native age-mates. In each group, 16 of the 17 students went to a 'MAV0', an intermediate level of secondary education. Their Dutch language skills were measured by analyzing spontaneous language samples and by administering some tests. In general, the second-language learners (the A-group) were shown to have a lower

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3

Michelson, Alan. "MAVO JAPANESE ARTISTS AND THE AVANT-GARDE 1905-1931. Gennifer Weisenfeld." Art Documentation: Journal of the Art Libraries Society of North America 21, no. 2 (2002): 51. http://dx.doi.org/10.1086/adx.21.2.27949217.

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4

Vincent, J. Keith. "Mavo: Japanese Artists and the Avant-Garde, 1905–1931. By Gennifer Weisenfeld. Berkeley and Los Angeles: University of California Press, 2002. 379 pp. $55.00 (cloth)." Journal of Asian Studies 62, no. 2 (2003): 634–35. http://dx.doi.org/10.2307/3096295.

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5

Vakarina, Elena A. "Psychosemantic Research of the Psychological Well-Being of Artists." Moscow University Psychology Bulletin 47, no. 2 (2024): 116–33. http://dx.doi.org/10.11621/lpj-24-17.

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Background. Psychological well-being ensures the positive functioning of the artist's personality, which includes internal (subjective) and external (objective) factors. The dynamism of the art market, instability of demand and orders, displacement of individuality by mass art lead to emotional tension, increased anxiety and, as a consequence, to a decrease in the level of well-being and to the growth of psychological insecurity of artists. Psychosemantic space reflects social representations that reveal the most significant and prioritised sources of maintaining an optimal level of psychologi

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6

Дорофеенко, Марина. "Имена деятелей культуры в урбанонимии Беларуси и Франции". Studia Wschodniosłowiańskie 20 (2020): 199–206. http://dx.doi.org/10.15290/sw.2020.20.14.

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In the article anthroponymic urbanonyms of Vitebsk and Reims derived from the names of artists are analyzed. The main lexico-semantic groups of these proper names have been established: urbanonyms, formed from the names of writers, poets, literary critics; artists, architects, sculptors; actors, directors, playwrights; musicians, composers. Similarities and differences in the functioning of Belarusian and French urbanonyms, given in honor of artists, have been revealed.

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7

Sasin, Magdalena, Tamara Sass, and Monika Modrzejewska-Świgulska. "Processes Stimulating Dynamic Cooperation in Female Art Groups. A Qualitative Research Report." Creativity. Theories – Research - Applications 6, no. 1 (2019): 112–24. http://dx.doi.org/10.1515/ctra-2019-0007.

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AbstractThe subject of the article is the activity of female artistic groups, with a particular focus on development and its dynamics. The aim of the research was to reconstruct the experiences and meanings that professional artists attribute to functioning in such groups. The analysis of the activities of such groups is part of the study of the environmental aspect of creativity. For the purposes of the article, qualitative research was conducted using the technique of free interviews with representatives of four artistic groups representing fine arts, cooperating in Łodz/Poland. The artists

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8

Styrna, Natasza. "Malarki, rzeźbiarki i graficzki z krakowskiego Zrzeszenia Żydowskich Artystów (1931–1939)." Studia Judaica, no. 2 (48) (2021): 407–35. http://dx.doi.org/10.4467/24500100stj.21.017.15072.

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Painters, Sculptors and Graphic Female Artists From the Kraków Association of Jewish Artists, 1931–1939 Eleven women belonged to the Kraków Association of Jewish Artists, active in the 1930s. They dealt with painting, graphic art and sculpture. Unfortunately, not much has survived from their achievements. One of the most interesting artistic personalities in this group was Henryka Kernerówna, educated in Vienna. From 1918 on, female artists younger than her could benefit from studies at the Academy of Fine Arts in Kraków. In the reviews of the exhibitions of the Association, the gender of arti

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Bukauskaitė, Evelina. "Gatherings of Jewish Artists in Interwar Lithuania." Art History & Criticism 17, no. 1 (2021): 17–30. http://dx.doi.org/10.2478/mik-2021-0002.

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Summary The main subject of this paper is the Jewish artists of interwar Lithuania and their efforts to unite. It analyses the aspirations of Jewish artists to unite into groups, to represent and present their art, and to maintain their national identity. The article introduces the main organisers, participants, circumstances and goals of the artists’ gatherings. It discusses three cases: the cultural policy pursued by National Jewish Council’s Section of Culture at the institutional level; Jewish artists who gathered on a social basis; and the Art Gallery of Neemiya Arbit Blatas as a unique e

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Vakarina, E. A. "ARTISTS' VIEWS OF PSYCHOLOGICAL WELL-BEING." PERSONALITY IN A CHANGING WORLD: HEALTH, ADAPTATION, DEVELOPMENT 11, no. 2 (2023): 175–85. http://dx.doi.org/10.23888/humj2023112175-185.

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The purpose of the study is to identify and describe the sense-groups of artists' views of psychological well-being. Psychological well-being is considered as a multicomponent concept, including cognitive, emotional and behavioral components. 55 artists aged between 19 and 60 took part in the survey. A structured interview about psychological well-being was conducted. Data processing was carried out by means of content analysis. Eight sense-groups related to artists' perceptions of psychological well-being were identified: relationships with others, calm, harmony, mindfulness, satisfaction, me

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11

Li Zhenchao and Tetriana Ahmed Fauzi2. "A STUDY ON THE FEATURES OF MINORITY-THEMED PAINTINGS IN THE 13TH NATIONAL ART EXHIBITION OF CHINA." Jurnal Gendang Alam (GA) 14 (December 16, 2024): 56–71. https://doi.org/10.51200/ga.v14i.5794.

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ABSTRACT This study aims to identify the features of minority-themed paintings in the 13th National Art Exhibition of China. The judging committee selected three award-winning artworks themed on minority subject. These three artworks can show us the features of minority-themed paintings distinctly. So, the researcher set these artworks as the research objective of this study. The research problems of this study are which ethnic groups the artists choose, what expressive strategies they use, and what aesthetic features are presented in these artworks. Based on exploratory research method, the r

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Callus, Ron, and Mark Cole. "Live for Art — Just Don't Expect to Make a Living from it: The Worklife of Australian Visual Artists." Media International Australia 102, no. 1 (2002): 77–87. http://dx.doi.org/10.1177/1329878x0210200109.

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Visual artists make up one of the few occupational groups in Australia where the majority of those working in the field are not regulated by awards or agreements that set minimum rates of pay and conditions. This is because most artists are self-employed and therefore lie outside the industrial relations regulatory framework. This article builds on the results of a survey of members of the National Association of Visual Artists (NA VA). The survey was designed to provide a picture of the income sources and activities of persons who work in the arts industry. For the majority of artists, the pa

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Guilat, Yael. "Artists Respond to Trauma." Israel Studies Review 40, no. 1 (2025): 43–54. https://doi.org/10.3167/isr.2025.400107.

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A week after 7 October 2023, various visual-art initiatives began to awaken in a quest for self-expression. A torrent of images started to flood the network, their modes of expression and non-expression as varied as were the voices and identities. Some artists plunged into shock and silence, others found comfort in artmaking, and yet others turned their concern toward the Other through art or other media. Some responses were personal and spontaneous, while others answered calls from art associations and institutions. Ad hoc groups for and of abductees’ families organized, viewing visual langua

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14

Granados Posada, Cynthia. "Evocations: Honouring The Memory of Women Artists." Journal of Public Space 7, no. 3 (2022): 131–42. http://dx.doi.org/10.32891/jps.v7i3.1590.

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The life and work of women artists has been, more often than not, neglected and excluded from history. There are artists, groups, authors and institutions around the world who have made and continue to make efforts to shed light on excluded artists by showing their work in exhibitions, compilations, websites or social media accounts. The ongoing project Evocations aims to honour some of those forgotten artists through the creation of artwork inspired by them. Until now, this project has consisted of four participatory public performance art pieces and a collective exhibition honouring eleven w

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Peripeti. "Overview." Peripeti 19, S10 (2022): 20–41. http://dx.doi.org/10.7146/peri.v19is10.132295.

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Connections residency programme for choreographic development and international exchange was run by Performing Arts Platform in Aarhus from 2017-2020, hosting a total of 10 groups of artists. Each programme was designed individually in close collaboration with the artists, who were not expected to produce a finished work, but to develop material, seek inspiration and create new collaboration opportunities – preferably across disciplines and across the region. This overview provides the reader with a short introduction to the artists, their projects and their connections.

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Washburn, Dorothy K. "An Interactive Test of Color and Contour Perception by Artists and Non-Artists." Leonardo 33, no. 3 (2000): 197–202. http://dx.doi.org/10.1162/002409400552504.

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The author explores Richard Latto's proposition that art com-municates effectively because art-ists manipulate basic features of form that the human perceptual system has evolved to detect. She offers an empirical test of the correlated proposition-that view-ers of art use these same fea-tures to assess art. The author presents the results of an experi-ment in which both artists and non-artists were asked to discern and draw shapes in patterns de-fined by iterating dots. She finds that both groups used color in the case of positive shape and form edge in the case of negative space, thereby con

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17

Wargo, Mark A., Charles L. Spirrison, B. Michael Thorne, and Tracy B. Henley. "PERSONALITY CHARACTERISTICS OF MARTIAL ARTISTS." Social Behavior and Personality: an international journal 35, no. 3 (2007): 399–408. http://dx.doi.org/10.2224/sbp.2007.35.3.399.

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This study used the MMPI-2 to explore the personalities of yellow-belt and black-belt martial artists. A total of 40 participants completed the MMPI-2 and a demographic questionnaire. Black-belt females tended to be less defensive than were other martial artists, but also displayed more paranoia and more anger than average. Females of both ranks reported a higher degree of anxiety and health concerns than did males in the study, and black-belt females also reported more family problems than did other groups. Finally, black belts in general reported more health concerns than did yellow belts.

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18

Stirr, Anna. "Revolution and reality shows: Nepal’s CPN and the media worlds of late capitalism." Indian Theatre Journal 6, no. 1 (2022): 25–40. http://dx.doi.org/10.1386/itj_00025_1.

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As performance reality television shows have become popular in Nepal, singers, musicians and dancers from the various communist parties’ cultural groups have begun to take part in them and draw on them for artistic inspiration. Yet reality shows are also closely associated with neo-liberal capitalism, and these artists’ participation has thus been criticized by some on the political left. This article examines the resulting interaction of aesthetics and values when communist artists, reality show expectations and cultural criticism meet. I draw on twenty years’ engagement with Nepal’s music in

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19

Tonković, Željka, and Ema Bašić. "“It’s actually a job you are married to”." Etnološka tribina 52, no. 45 (2022): 157–76. http://dx.doi.org/10.15378/1848-9540.2022.45.07.

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The tattoo, once an indicator of belonging to subculture, deviant, and marginalized groups, or specific occupations, has become mainstream. Given that their social world has not yet been studied in much detail, this research aimed to explore the work experiences of tattoo artists. For the purposes of the research, semi-structured interviews with tattoo artists were conducted. The results show that for tattoo artists, tattooing is more than just a job – rather, it is integral to their lifestyle. Tattoo artists give particular importance to family and friends and support and belonging in both ta

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20

Hajianfard, Ramin, Elis Syuhaila Binti Mokhtar, and Yakup Bin Mohd Rafee. "The Perception of Multiculturalism in Malaysian Visual Art University Students’ Paintings." Harmonia: Journal of Arts Research and Education 24, no. 2 (2024): 411–26. https://doi.org/10.15294/harmonia.v24i2.9373.

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Malaysia’s diverse population has influenced people’s lives in many areas, from fashion and cuisine to art and interpersonal relationships. The country’s diverse atmosphere has shaped the perspectives of young artists from different ethnic backgrounds, affecting their artistic expression and their ability to incorporate multicultural themes in their works. This study aims to find out how multiculturalism is perceived by young Malaysian artists from the country’s major ethnic groups - Malays, Chinese and Indians - and the feelings they express in their artworks. This study adds to the body of k

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21

Marsden, Scott. "Class matters: Dialogue and dialogics in the work of Condé and Beveridge." Art & the Public Sphere 11, no. 2 (2022): 209–26. http://dx.doi.org/10.1386/aps_00079_1.

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This article explores curatorial projects that give voice to working-class communities that have been disfranchised by the ideology of neo-liberalism. Defining contemporary art galleries as public spheres, curatorial projects that are based in dialogue and dialogics reveal the conflicting and contradictory aspects of dominant cultural narratives. Through collaborative and participatory methods, progressive artists co-create artworks with working-class communities, creating alternatives to the traditional gallery system in which artists, artworks, audiences and institutions are abstracted from

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22

Vakarina, E. A., and I. V. Vasileva. "Emotional Component of the Psychological Well-Being Image in Artists Based on Their Associations." Bulletin of the State University of Education. Series: Psychology, no. 4 (December 9, 2024): 7–18. https://doi.org/10.18384/2949-5105-2024-4-7-18.

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Aim. To identify the emotional component of the image of psychological well-being in the artists’ thesaurus.Methodology. L. G. Babenko’s thesaurus of emotive vocabulary was used for profiling. The study involved 120 artists. Data collection was carried out by the method of directed associations. The respondents’ task was to give nine associations in the form of basic parts of speech (three verbs, nouns, adjectives each) to the word combination “psychological well-being”. As a result, the frequency of these associations by categories of emotive vocabulary was revealed and a rating of these cate

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23

Yeagle, Ellen H., Gayle Privette, and Frances Y. Dunham. "Highest Happiness: An Analysis of Artists' Peak Experience." Psychological Reports 65, no. 2 (1989): 523–30. http://dx.doi.org/10.2466/pr0.1989.65.2.523.

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Descriptions of peak experiences collected from 29 exhibiting artists were compared with parallel data from a comparison group of 123 men and women enrolled in university courses in social sciences. Each person narratively described a personal incident of highest happiness, then rated a series of descriptions on Likert-type scales. A multivariate analysis of variance indicated no significant differences in the two groups' descriptions of peak experience, and subsequent t tests showed no significant differences on any item. Responses from both groups provide a constellation of experiential corr

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Boullata, Kamal. "Artists Re-Member Palestine in Beirut." Journal of Palestine Studies 32, no. 4 (2003): 22–38. http://dx.doi.org/10.1525/jps.2003.32.4.22.

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The following article examines the work of seven visual artists of the first generation of Palestinian refugees whose careers unfolded in Beirut, at thetime the cultural center of the Arab world and "the metropolis of Arab modernity." The two groups of refugee artists - those from the camps and those who became part of Beirut's elite artistic scene - produced works very different in approach and spirit, but which all bore the stamp of their experience of Palestine. While examining the works of these artists in the context of their lives, the paper also highlights the sometimes explicit, someti

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Bhavsar, Rushi, and Dr Supriya Sioni. "Exploring Risk -Taking Behaviour: A Comparative Analysis of Working Professionals and Artists." International Journal of Research in Social Science and Humanities 05, no. 10 (2024): 12–21. https://doi.org/10.47505/ijrss.2024.10.2.

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This study explores and compares risk-taking behaviourbetween working professionals and artists. The research aims to understand the differences in how these two groups approach risk.The study includes a sample of 60 participants, consisting of 33 working professionals and 27 artists, all aged between 25 and40 years and residing in Gujarat. Purposive sampling technique was employed to ensure diversity in job profiles. Data was collected using the Risk Taking Scale by Subhash Sarkar (R.T.S -2017). The data collection process involved obtaining oral permissions, establishing rapport with partici

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Shourie, Nasrin, Mohammad Firoozabadi, and Kambiz Badie. "Analysis of EEG Signals Related to Artists and Nonartists during Visual Perception, Mental Imagery, and Rest Using Approximate Entropy." BioMed Research International 2014 (2014): 1–10. http://dx.doi.org/10.1155/2014/764382.

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In this paper, differences between multichannel EEG signals of artists and nonartists were analyzed during visual perception and mental imagery of some paintings and at resting condition using approximate entropy (ApEn). It was found that ApEn is significantly higher for artists during the visual perception and the mental imagery in the frontal lobe, suggesting that artists process more information during these conditions. It was also observed that ApEn decreases for the two groups during the visual perception due to increasing mental load; however, their variation patterns are different. This

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27

Friedman, Rebecca K. "Artists of the World/Internationale Datenbank bildender Künstlerinnen und Künstler (International Database of Visual Artists)." Charleston Advisor 24, no. 4 (2023): 5–11. http://dx.doi.org/10.5260/chara.24.4.5.

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Artists of the World (AOW) is a biographical source for artists, artisans, craftspeople, designers, architects, and related occupations: It is “the world's most current, reliable, and extensive reference work on artists” (De Gruyter n.d.a.). It is the newer version of De Gruyter's Allgemeines Künstlerlexikon ‐ Internationale Künstlerdatenbank Online (AKL). Much of the content behind AOW is derived from AKL and its corresponding 119-plus print series built on previous art biographies in print. This fully digital resource has a new interface, search options, features, and a plan to expand, revis

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Hubbe, Martin A. "Artists, papermakers, and the future." BioResources 19, no. 3 (2024): 4053–55. http://dx.doi.org/10.15376/biores.19.3.4053-4055.

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This editorial considers three groups of individuals and how they often find themselves following common ways of thinking. Artists, especially those who become well known, are hard workers and somewhat stubborn. Once they have found a type of paper that works well for them, they tend to develop loyalty to it, regardless of what the label on the ream wrap may say. Papermakers, ancient and modern, likewise have tended to stick with practices that are convenient to them at the moment, whether or not they contribute to archival quality. Fortunately, the transition to alkaline papermaking practices

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Horiuchi, Shiro. "ARTISTS AGAINST GENTRIFICATION: COORDINATORS OF DIFFERENT PEOPLE IN AN INNER-CITY AREA OF OSAKA, JAPAN." International Journal of Asia Pacific Studies 18, no. 1 (2022): 79–105. http://dx.doi.org/10.21315/ijaps2022.18.1.4.

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Gentrification, often characterised by an influx of new residents who displace established locals, has impacted cities across the world and is accelerated by the growth of global capital and the development of neoliberal governments. Artists can counter the process by using their art to promote justice and community development. This paper explores the influence of artists on the community of Baika-Shikanjima, an inner-city area of Osaka, where many creative individuals have aggregated for more than a decade. At present, the area seems to be untouched by gentrification. The findings of this fi

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Machida, Margo L. "Pacific Itineraries: Islands and Oceanic Imaginaries in Contemporary Asian American Art." Asian Diasporic Visual Cultures and the Americas 3, no. 1-2 (2017): 9–34. http://dx.doi.org/10.1163/23523085-00302002.

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This essay focuses on the Asia Pacific region and selected works by contemporaryus-based Asian American artists that engage shared themes of trans-Pacific journeys, circulation, conflict, and convergence between Asian diasporic, Indigenous, and other groups. The Pacific, with more islands than the world’s other oceans combined, is above all an island realm. Accordingly islands and associated oceanic imaginaries exert a powerful hold on works by artists who trace their ancestral origins to coastal East and Southeast Asia and Oceania. These artists’ endeavours underscore the idea of islands as m

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Browning, Kathy. "Innovative Exemplars and Curriculum Created from Online Videos of Visual Artists in Greater Sudbury." Journal of the Canadian Association for Curriculum Studies 16, no. 1 (2018): 104–26. http://dx.doi.org/10.25071/1916-4467.40357.

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The article begins with a description of the award-winning online artists’ video project, 14 Videos of Visual Artists in Greater Sudbury, and concludes with a presentation of my pre-service BEd students’ creative use of this digital resource. The video series was conceived and created with the aim of filling a gap in materials that were sorely lacking to teachers of Visual Arts in Ontario. The video series includes Aboriginal, Métis, Francophone and Anglophone artists and highlights the artists’ interconnections with the local community. The streamed, linked and library-accessible videos (see

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Chizoma, Onyebuchi-Igbokwe, Grace. "Leveraging Artificial Intelligence (AI) Platforms to Enhance the Visibility of Local Artists in Northwest Nigeria: Opportunities and Challenges." Asian Journal of Education and Social Studies 51, no. 5 (2025): 640–51. https://doi.org/10.9734/ajess/2025/v51i51947.

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The integration of artificial intelligence (AI) into creative industries has significantly transformed the visibility and market reach of artists globally. However, local artists in Northwest Nigeria continue to face numerous challenges in gaining recognition beyond their immediate communities. This study investigates the potential of AI-driven platforms in enhancing the visibility of these artists, exploring opportunities, constraints, and the role of digital innovation in the regional art landscape. Employing a mixed-method approach, the research incorporates both qualitative and quantitativ

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Weisman, A., T. Yona, U. Gottlieb, R. Ingel, and Y. Masharawi. "Tattoo artists and dental workers have similar musculoskeletal pain patterns." Occupational Medicine 72, no. 1 (2021): 43–50. http://dx.doi.org/10.1093/occmed/kqab149.

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Abstract Background Tattoo artists are an understudied population with regards to musculoskeletal (MSK) pain. Aims To explore the characteristics of MSK pain among Israeli tattoo artists and determine whether they are similar to those of dental workers. Methods An online survey including demographics and the Hebrew version of the Extended Nordic Musculoskeletal Questionnaire was disseminated via Israeli social media groups. We directly compared tattoo artists, dental workers and office workers as a reference group. Results Altogether, 114 tattoo artists, 161 dental workers and 296 office worke

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Rectanus, Mark W. "Artists, debt, and global activism." Finance and Society 2, no. 1 (2016): 2–24. http://dx.doi.org/10.2218/finsoc.v2i1.1661.

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This article examines how artists, activism, and works of art may contribute to a more textured understanding of debt in contemporary society and culture. The diversity of aesthetic practices and range of strategic interventions in which artists are organizers and activists are manifest in the Global Ultra Luxury Faction (G.U.L.F.), advocacy initiatives by Working Artists and the Greater Economy (W.A.G.E.), and alternative, trans-local projects such as the Arts Collaboratory. These activist interventions provide the context for an examination of how artists have seized upon discourses related

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Cześniak-Zielińska, Magdalena. "Remarks on the Jewish Art Colony in Kazimierz Dolny." Studia Żydowskie. Almanach 3, no. 3 (2013): 28–37. http://dx.doi.org/10.56583/sz.555.

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Kazimierz Dolny (Kuzmir) was visited and painted by many artists. Before 1914, and during the interwar period, there had been a lot of Jews among the artists, and the art colo-ny of Kazimierz Dolny became one of the most important and popular places among them. However, there never was anything like a strictly Jewish artistic colony or Jewish artistic community in Kazimierz Dolny and there never was exactly a Polish colony. So, it is easier to speak about artists-Jews in Kazimierz Dolny’s artistic colony or Kazimierz Dolny’s artis-tic circle than about a “national” or “ethnic” colony. The boun

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Ronnes, Hanneke. "DE SUBVERSIEVE HUISKAT." De Moderne Tijd 2, no. 3 (2018): 248–66. http://dx.doi.org/10.5117/dmt2018.03-4.004.ronn.

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A NEW KIND OF LOVE FOR THE CAT The subversive, domestic cat of Dutch artists, 1885-1910 The nineteenth century is often hallmarked as the epoch of the birth of the pet. The life of cats in the Netherlands improved especially thanks to two groups: a bourgeois and noble elite embracing the cat in imitation of English peers, and (poor) artists who looked particularly towards France where authors and painters such as Baudelaire and Manet had adopted the cat as their alter ego. In this article Dutch artists (especially the Tachtigers or Movement of Eighty) take centre stage. They did not uncritical

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Breon, Robin, and Brenda Kamino. "Strategies for Survival / 2: Funding for Visible Minorities: A Minority Within a Minority." Canadian Theatre Review 63 (June 1990): 10–14. http://dx.doi.org/10.3138/ctr.63.002.

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Artists are, by and large, a minority within any given society. And artists as a group – actors, dancers, playwrights, filmmakers, visual artists, etc. – enjoy far less by way of salary and benefits, job security, pensions, and seniority rights than the average unionized worker on the assembly line. The smaller artistic ensembles, be they theatre companies, dance groups, or multidiscipline collectives, face increasingly difficult times. Yet, historically it has been the smaller companies – who constitute the overwhelming majority in terms of numbers – that have produced some of the most provoc

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Slabšinskienė, Eglė, Karolina Radlinskaitė, Aistė Kavaliauskienė, et al. "Do Subjects from Different Occupational Groups Experience Dental Fear and Anxiety Equally?" Medicina 60, no. 4 (2024): 674. http://dx.doi.org/10.3390/medicina60040674.

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Background and Objectives: Research into the relationship between occupation and dental fear and anxiety (DFA) is scarce. This exploratory study aimed to compare the level of DFA and its association with its predictors amongst adults from different occupational groups. Materials and Methods: A cross-sectional study with 422 respondents from four occupational groups (physicians, teachers, industry workers, and artists) was carried out. A questionnaire on previous dental experience using the Dental Anxiety Scale (DAS), Dental Fear Survey (DFS), and Self-Esteem Scale was self-administered electro

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Hassen, HAKIM, PUEL Frédéric, FORESTIER Nicolas, and BERTUCCI William. "Circus Student-Artists Anthropometric characterization; Preliminary study." Journal of Physical Health and Sports Medicine 1, no. 1 (2018): 16–22. https://doi.org/10.36811/jphsm.2019.110002.

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<strong>Abstract</strong><strong>:</strong> The purpose of our study was to establish a circus student-artist anthropometric characterization allowing for their classification among the different activities or sports discipline and to know if they present specific morphological adaptations due to their practices. <strong>Methods:</strong> Thirty healthy adults (13 women and 17 men, 22.5±2 years, 170.1±6.4 cm, 64.5±7.5 kg) participated voluntarily in this study. These student-artists were divided into two groups: 15 aerials (dangling trapeze, stated trapeze, outfi

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Preti, Antonio, Francesca De Biasi, and Paola Miotto. "Musical Creativity and Suicide." Psychological Reports 89, no. 3 (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

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Magkou, Matina, Olga Kolokytha, and Leda Tsene. "Activism and bottom-up narratives of change in Greek cultural policy: the case of #SupportArtWorkers." Journal of Cultural Management and Cultural Policy / Zeitschrift für Kulturmanagement und Kulturpolitik 8, no. 2 (2022): 193–212. http://dx.doi.org/10.14361/zkmm-2022-0209.

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Abstract All over the world, Covid-19 revealed long-term issues concerning the structural vulnerability of artists and cultural workers. In Greece, during the first lock down, an independent initiative, Support Art Workers (SAW), brought to the spotlight artists and cultural workers and their needs and narratives about what needs to be changed in Greek cultural policy. Organised around and expressed through an online and offline activism campaign, SAW enabled them to articulate their particular status and needs-both in that particular timing, and with forward-looking approaches on overall poli

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Magkou, Matina, Olga Kolokytha, and Leda Tsene. "Activism and bottom-up narratives of change in Greek cultural policy: the case of #SupportArtWorkers." Journal of Cultural Management and Cultural Policy / Zeitschrift für Kulturmanagement und Kulturpolitik 8, no. 2 (2022): 193–212. http://dx.doi.org/10.14361/zkmm-2022-080210.

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Abstract All over the world, Covid-19 revealed long-term issues concerning the structural vulnerability of artists and cultural workers. In Greece, during the first lock down, an independent initiative, Support Art Workers (SAW), brought to the spotlight artists and cultural workers and their needs and narratives about what needs to be changed in Greek cultural policy. Organised around and expressed through an online and offline activism campaign, SAW enabled them to articulate their particular status and needs-both in that particular timing, and with forward-looking approaches on overall poli

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43

Gralińska-Toborek, Agnieszka. "Wspólnotowy potencjał sztuki street artu: efemeryczne wspólnoty wokół efemerycznej sztuki." Nauki o Wychowaniu. Studia Interdyscyplinarne 18, no. 1 (2024): 80–92. http://dx.doi.org/10.18778/2450-4491.18.07.

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The article analyzes the phenomenon of street art in the context of its impact on the creation of local or global communities of both creators and audiences. It takes into consideration various forms of expression such as graffiti, community murals, or interventions by individual artists. It examines to what extent the communities formed around artistic activities are lasting and cohesive. Graffiti, as a form of art typical of the hip-hop subculture, represents expressions by groups that are closed and anonymous for the majority of society. Despite strong connections, these groups are usually

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Alvarez, Mariola V. "The Ordinary World of Tomoo Handa and Yoshiya Takaoka." Latin American and Latinx Visual Culture 7, no. 2 (2025): 55–76. https://doi.org/10.1525/lavc.2025.7.2.55.

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Tomoo Handa and Yoshiya Takaoka were leading artists in the Japanese Brazilian immigrant community. This article argues for their art’s contributions to the history of Brazilian modern art and, as a result, a revision of its historiography. Handa and Takaoka emerged as artists in the artistic scene in São Paulo and Rio de Janeiro while people of Japanese descent confronted repression and violence during the Estado Novo (1937–45) and World War II. These historical conditions affected their ability to gather in groups and the subjects they represented. Through an analysis of their portraits, gen

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Cuevas, Skylar, Qi (Kathy) Liu, Helen Qian, et al. "How to design an art-science program? Self-reported benefits for artists and scientists in the VI4 artist-in-residence program." PLOS ONE 17, no. 12 (2022): e0279183. http://dx.doi.org/10.1371/journal.pone.0279183.

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While many new programs bridge the arts and sciences, a data-based examination of art-science program design can lead to more efficient programming. The Vanderbilt Institute for Infection, Immunology, and Inflammation Artist-in-Residence program is a virtual program that brings together undergraduate student “artists” and faculty-level “scientists” to generate science-art content. We have recruited over 80 artists and 50 scientists to collaborate in creating visual science communication content. Using self-reported data from both groups, we performed qualitative and quantitative analyses to de

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Introvigne, Massimo. "New Religious Movements and the Visual Arts." Nova Religio 19, no. 4 (2016): 3–13. http://dx.doi.org/10.1525/nr.2016.19.4.3.

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Contrary to popular conceptions, modern artists are often religious. Some of them are part of mainstream religions including Catholicism, Protestantism, Judaism, and Islam. Others try to establish new religions and forms of spirituality based on art itself. A significant number of artists, while alienated from traditional religions, were either part of, or deeply influenced by, new religious movements and esoteric groups. Scholars have particularly focused on the influence of the Theosophical Society on the visual arts, but other movements have also been significant.

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Tjarve, Baiba, and Agnese Hermane. "INSTITUTIONALISATION OF AMATEUR ARTS IN LATVIA: INVOLVEMENT OF AMATEUR ARTISTS IN DECISION-MAKING PROCESS." Culture Crossroads 17 (November 2, 2022): 7–29. http://dx.doi.org/10.55877/cc.vol17.71.

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There are 69.6 thousand amateur artists in Latvia (3.5% of the population) who take part in various amateur arts groups. Majority of these amateurs sustain the tradition of the Nationwide Song and Dance Celebration, a phenomenon which has been inscribed on the Representative List of the Intangible Cultural Heritage of Humanity by UNESCO. Even though in many countries amateur arts groups are self-governed, in Latvia the process has been institutionalised, mainly due to the organisation of the amateur arts sector during the Soviet period. Groups do not usually operate as civic associations, but

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Raharjo, Timbul, Suastiwi Triatmodjo, and Yulriawan Dafri. "“Guyub Trisno” Fine Art Exhibition: Donation and Recovery of The COVID-19 Pandemic." Devotion Journal of Community Service 4, no. 3 (2023): 803–12. http://dx.doi.org/10.36418/devotion.v4i3.439.

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A pandemic is like a mirror that shows us the realities of life (Teng & Margaret, 2020). This fact of life is the importance of doing for humanity as did the artists of Trisno Guyub’s members. They initiated a joint exhibition for donations and recovery from the Covid-19 pandemic. This exhibition was attended by 118 artists and exhibited around 200 works of art, paintings and sculptures. The first purpose is an effort to share and the second is so that artists can fulfill their artistic expression. This study uses a qualitative method in the form of an explanation of the pandemic condition

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Rawlings, David, and Ann Locarnini. "Validating the Creativity Scale for Diverse Domains Using Groups of Artists and Scientists." Empirical Studies of the Arts 25, no. 2 (2007): 163–72. http://dx.doi.org/10.2190/q538-2307-2627-1256.

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The Creativity Scale for Diverse Domains (CSDD) of Kaufman and Baer (2004), measures self-reported creativity in nine different domains, as well as “creativity in general.” The study reports a criterion validation of the scale, using small groups of professional scientists and artists, in addition to two groups of undergraduate students planning major studies in the arts/humanities or in science/mathematics. Similar patterns of inter-correlation between items, and a similar factor structure, were found to those reported in the original study. In support of the validity of the scale, profession

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Miller, Steven. "The Papunya Tula Archive at the Art Gallery of New South Wales: providing archival services for indigenous art." Art Libraries Journal 33, no. 2 (2008): 29–33. http://dx.doi.org/10.1017/s0307472200015327.

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Papunya Tula Artists is a company owned and directed by Aboriginal people from the Western Desert, predominantly from the Luritja and Pintupi language groups. It currently has 49 shareholders and represents around 120 artists. The broad aims of the company are to promote individual artists, and to provide economic development for the communities to which they belong, thereby preserving and extending their traditional culture. Towards the end of 1993 the Art Gallery of New South Wales entered into a formal partnership with the company to assist it in preserving, copying and providing access to

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