Artist's Studio Research Articles

Sound Art of Internet of Things Explore: Sound Sensors in the Fusion of Painting and Music

INTRODUCTION: The combination of sound art and Internet of Things (IoT) technology offers new possibilities for artistic creation. With the rapid development of the Internet of Things (IoT), sound sensors have become a powerful tool for capturing environmental sounds. This study aims to explore the application of suitable sensors in the fusion of painting and music by utilizing IoT technology to create more prosperous and interactive artworks for artists. OBJECTIVES: The study's primary purpose is to explore the potential uses of sound sensors in art creation, especially in integrating painting and music. By deeply analyzing the interaction between sound and visual art, the researchers aim to discover new creative possibilities, thus expanding the boundaries of artistic creation. METHODS: The study utilized a comprehensive methodology that included a literature review, field research, and artistic practice. First, the literature on sound art, IoT, and art fusion was extensively reviewed to provide a theoretical foundation for the study. Second, through field research, the researchers collected practical examples of sound sensors applied in the field of art. Finally, through hands-on art creation in the artist's studio, the researchers verified the potential applications of suitable sensors in the fusion of painting and music. RESULTS: The study found that sound sensors have many applications in painting-music fusion. By embedding suitable sensors into painting tools and music devices, artists can capture the sounds of their surroundings and transform them into visual and auditory artistic expressions. Examples from practice demonstrate how this technological innovation can bring a richer, more sensual experience to artistic creation while engaging the audience in interactive participation. CONCLUSION: The results of this study show that the combination of sound sensors and IoT technology offers new possibilities for artistic creation. By integrating proper elements in painting and music, artists can create more profound and engaging works. This innovation expands the boundaries of art and provides the audience with a more intimate and interactive experience with the artwork. In the future, further research can delve into the application of sound sensors in other artistic fields, thus promoting the integration of art and technology to move forward.

Can Production Companies Use Invoices Issued by Artist Studios as Proof of Deductible Business Tax? — A Case Study of Supreme Administrative Court Judgment (110) Shang-zi No. 525

Can Production Companies Use Invoices Issued by Artist Studios as Proof of Deductible Business Tax? — A Case Study of Supreme Administrative Court Judgment (110) Shang-zi No. 525

Unlocking the muse - Developing arts-based approaches for people with Parkinson’s disease

Interventions considering the arts are increasingly gaining acceptance in the clinical-methodological repertoire, and in supporting people with diseases. However, current approaches are often limited considering the variety of offered creative activities and are neglecting the influence of the artistic context. Furthermore, there is often a focus on momentary well-being primarily and not on the impact on quality of life, missing centralization around the transferability of creative engagement and art-based interventions into daily life issues. The goal of our study is the implementation of a person-centered, art-based program. 
 We offer people with Parkinson’s a program wherein they participate in orientation sessions (playgrounds) to find preferred activities, and in specialization sessions (artist studio’s) to develop deep engagement/flow in the preferred activities. Self-direction by participants and a psychological safe environment, are the cornerstones of this program. The first group of participants (n=5) took part in a pilot study. A second pilot and full trial will take place early 2023.
 The activities can address both instrumental (practical utilization) and non-instrumental (existential) creativity, with the upper goal to increase the individuum’s quality of life as the main outcome variable. Besides these three quantitative measures (pre/post), individual open interviews (pre/peri/post) are held and analyzed using thematic and grounded methodologies. We aim to distil the active ingredients to transform a person’s mindset and skill-set to learn that engaging with creativity is a tool for enhancing individual quality of life in a self-empowered manner. We will present the first outcomes of our study in this poster.

A tetoválás eltávolítás szövődményei

Non-laser and laser methods of tattoo removal are described in the publication. The complications of incorrect intervention in tattoo artist studios and beauty salons are illustrated with clinical photos. The complication of laser and chemical treatment performed by a layman, causing a significant aesthetic problem in two cases is presented. The challenges that arise during the restoration are demonstrated. The publication draws attention to the difference in power density between Q-switched lasers and other types of lasers, and to the risks of tattoo removal procedures, such as permanent scars, allergic reactions or perforation of the retina (FTMH), with complete loss of vision in case of unqualified personnel.

Modernism in a Non-Melancholic Key

Abstract Once again it is time for a reckoning about the status of modernist art in Western Europe and North America. However we frame it, it's now perceived, in artist studios and academic programs alike, as just one formation among others, with no special claim on art practice or art history. No longer central, the field is relative not only to other modern arts in other geopolitical regions but also to all other art-historical fields. In short, it is neither the aesthetic epitome nor the historical gateway that most old-school modernists have believed it to be. This isn't news in other fields; that it might be for many modernists is one more sign that we have fallen behind.

Modern Mural Paintings. The Planisphere Painting of Almada Negreiros: Technical and Material Features of Plasters and Painting Technique

This paper presents the results of observations and analysis carried out in the modern mural painting of 54m2, known as Planisphere (or Mapa-mundi), made by Almada Negreiros in 1939 in the city of Lisbon. The painting is Almada’s first monumental painted work at fresco, and it is a striking, colourful composition inspired by early world maps of navigators. The aim is to ascertain how he built up this masterpiece and what artistic sources could have inspired him. The analytical setup comprised in-situ technical photography in the visible (Vis and Vis-Rak) and near infrared radiation (NIR), Vis-handled-Optical microscopy, complemented by laboratorial analysis of microsamples collected from paint layers with OM-Vis-UV and SEM-EDS. The data obtained was compared with the painting compendiums of Paul Bedouin’s La fresque. Sa Technique-ses applications (1914) and of Costin Petresco’s L’art de la fresque (1931), retrieved from the artist studio in 2019. The study reveals the first technical and material features found, such as the painting execution by large giornate, the use of different types of techniques to transfer the drawings to the wall, and the presence of paint layers made with buon and lime fresco. The results also reveal the likely strategies used by Almada to overcome the challenges imposed by a fresco execution, inspired by both eastern and western mural painting traditions.

The Artist's Studio: From Hephaestus's Forge to Warhol's Factory

The Artist's Studio: From Hephaestus's Forge to Warhol's Factory

When the Artist Studio is Alive, Art is Alive: Empowering Art Educators and Students through Live Studio Practice

Art education plays a vital role in developing artistic talent and nurturing creativity. However, the challenges facing art education in many developing countries, including Ghana, are significant. Traditional teaching methods, lack of resources, and cultural and social factors are barriers to the development of high-quality art education programmes and the cultivation of artistic talent. This qualitative study uses textual analysis to explore the potential of live studio practice as a solution to the challenges facing art education in Ghana. With regards to duration, investigation time frame falls between 2012 and 2023. The analysis of selected texts related to art education in Ghana reveals several key themes and patterns related to the challenges facing art education in Ghana and the potential of live studio practice to promote practical skills development, creativity, community engagement, professional skills development, and cultural exchange. The findings of this study disclose that policymakers, educators, and practitioners in the field of art education in Ghana does not prioritize the factor of the development of policies and practices that promote the development of high-quality art education programmes and the cultivation of artistic talent in Ghana through the use of live studio practice. In terms of suitable spaces for the critical artistic studio practical aspects, it is uneasy to have comfortable dwellings for the consistent practical works. These factors donate the hindrance of potentials in the amateur artists. This study contributes to the ongoing debate about the future of art education in Ghana and provides insights into the potential of live studio practice as a solution to the challenges facing art education in Ghana and other developing countries.

Herontdekking van de kunstvakidiotie. Verschuift het vakmanschap van kunstvakdocenten?

In this essay, Mirjam van Tilburg delineates a shift in the craftsmanship of art teachers in corona’s first year of crisis. Together with ten art subject teachers, she occupied artist studios in Tilburg and Rotterdam to de-automate and scrutinize teaching practices. The crisis elucidated the discrepancy between how the education system approaches art teachers and what they themselves require. In those studios, they had one mainstay: being art teachers-savants.

Separating pigments and fillers from the polymer matrix in acrylic colors subjected to natural aging

Upon aging and exposure to ambient conditions, acrylic colors get dry and the degree of polymerization of the polymer matrix increases due to progressive cross-linking. When interested in studying acrylic colors, separation of the different components, namely matrix, pigments, and fillers, may be particularly useful for their identification and characterization. In the case of aged acrylic colors, as found in artworks themselves or in materials present in artist studios, the separation approaches requiring chemical treatments of fluid samples cannot be applied. To overcome this limit, here a controlled combustion strategy is developed for eliminating the polymer matrix from the color and then recovering a powder made of pigments and fillers, which is analyzed by optical spectroscopy and demonstrated to display the same chromatic/chemical properties of the original color. As a case study, the new method is successfully applied to acrylic colors used by the Italian artist Domenico “Ico” Parisi (1916–1996), found in the original tubes in his studio.

Witkacy on Drugs

Witkacy on Drugs

Forward Trajectory of a Positive Black Self

It is said that the future of black art is bright. The truth is the future of blackness in any context can only ever be promising. The past fails to provide a representative depository of positive black excellence. It is with this in mind that the present and more specifically the future are the only spaces were blackness can hope to aspire for more. Simply put, positivity connected to blackness can only ever truly exist as a futuristic endeavour. The Asisebenze Art Atelier (AAA) artist studio and dealership is an apt case study f or this argument.

Hilma af Klint and the Need for Historical Revision

Hilma af Klint and the Need for Historical Revision

Egy pub új élete

The creative industry sector in the United Kingdom holds a special place regarding cross disciplinary activities which supports collective and individual successes at a decisive level on the international market. Taking a redundant public house, which later functioned as a family home, adding another floor to create an artist's studio retains the local tradition for small footprint vertical developments and provides a studio space which benefits from its location and quality of natural daylighting. From a town planning point of view the streetscape is maintained, as is the historical message, whilst providing a creative place of employment.

Motivación en educación artística. Tiempo y variables

Motivation is a fundamental factor for all kinds of activities, highlighting in it the role of emotions. Motivation is present, both in artistic practice and in the educational context, classifying as extrinsic or intrinsic. Reviewing fundamental authors on motivation directed to arts education students, variables such as time, resources, passion and the environment were found. Other strategies consist of evaluating: the importance of emotions, spaces, experimentation, recognition of the work done, reinforcement of the feeling of value and creative abilities, ideas, the introduction of new tools, unexpected objects and unexpected people. The importance of teamwork, getting out of the comfort zone, visiting artist studios or inviting artists to participate in classes is also defended. Attention is paid to the rhythms of each student, some faster, others calmer, giving them the necessary time according to the rhythm of each student. Today the increase in digitization also affects motivation in Art Education

Laden with great expectations: (re)mapping the arts housing policy as urban cultural policy in Singapore

The arts and artists need space to thrive. However, as much of the land in Singapore is state-owned, the finiteness of space – literally and figuratively – remains a key challenge. Yet there is a rich variety of arts infrastructure in Singapore today, from exhibition spaces to performing arts venues and state-subsidised artist studios. This infrastructure comes at a cost - these arts spaces are positioned as policy interventions capable of achieving a broad confluence of cultural, urban, economic and social outcomes for Singapore. This article aims to provide an understanding of how arts spaces in Singapore has been framed and legitimised as a strategic means to pursue multiple policy goals. In particular, this article will focus on the Arts Housing Policy, which was formally introduced in 1985 as an artist assistance scheme that provides subsidised work spaces to artists and arts groups. Over the years, the policy has evolved into an urban cultural policy expected to achieve urban rejuvenation goals. Through tracing the governmental structures and organisational processes behind the evolution of the Arts Housing Policy from an artist assistance scheme into an urban cultural policy, this article will demonstrate how and why arts housing spaces have become encumbered by the institutional layering of potentially incommensurate policy agendas, assumptions and aspirations. This article contends that a micro-level analysis of the bureaucratic structures and processes behind policy development will enable a more nuanced understanding of the tensions and incongruities between local artist needs and urban cultural policy goals in Singapore. • Arts governance in Singapore has been instrumentalised to deliver urban rejuvenation rather than arts-related benefits. • Singapore's Arts Housing is an urban cultural policy shaped by both global policy trends and local non-cultural state agendas. • The actual capacity of cultural infrastructure to deliver urban rejuvenation outcomes is questioned. • Analysing the processes and agendas behind cultural policy will enhance understanding of the expectations placed upon the arts. The

Urban Commoning and Architectural Situated Knowledge: The Architects’ Role in the Transformation of the NDSM Ship Wharf, Amsterdam

This article discusses the collaborative processes behind the redevelopment of the Dutch state heritage ship wharf NDSM in Amsterdam as a case of urban commoning that took place around the year 2000 – before the term became commonly used in urban studies. It explores how the former shipwharf was transformed into an “incubator”: a creative hub with artist studios, theater spaces, a skate park and other facilities for cultural production. In this article, we specifically investigate the role of architects in this context. Unfolding the process reveals the emergence of the figure of the participant-architect who participates in the shared authorship, within a collective situated knowledge. This knowledge is simultaneously produced in the place and productive of the place.

Decentralize! Art, Power, and Space in the New York Art World

Have we witnessed the return of critique in the U.S. art world? Taking the decentralization of art institutions as a tactic of critique, this paper identifies waves of critique in the contemporary art world, with particular attention to New York City in the late 1960s-early 1970s, and the 2010s. Though certain critical aims and strategies have persisted, this period spans an impassable divide: the end of affordable space – for artist studios, galleries, community art centers – in the urban cores of U.S. cities. By attending to changes in the ways artists have withdrawn from, attacked, or engaged with institutional spaces, this article traces the changing definitions of critique and criticality as a function of access to space.

Mash-Up: The Enduring Fusion of High Art & Mass Culture

Mash-UpThe Enduring Fusion of High Art & Mass Culture Kristine Somerville Click for larger view View full resolution Alexey Kondakov [End Page 121] Click for larger view View full resolution Žilda, Adam, Eve & Medor, Rennes, France, 2009 In 1912 at his Boulevard Raspail studio in Montparnasse, Picasso hung a changing installation of collages on a beige wall over a cot scattered with pillows and papers. He displayed six or seven pieces of new work selected from the nearly hundred collages he had created that year. Most notably, he shared variations on a study of a guitar, a paste-up of wallpaper and cardboard on newsprint. When artists heard about Picasso's new work, they flocked to his small studio to get a look. Intrigued by the method, futurists such as Gino Severini, Umberto Boccioni, and Giacomo Balla began using collage as a method of enriching the surfaces of their works. Picasso's displays of simple cutting and pasting of the detritus of daily life were declared "a pasted-paper revolution." The idea moved quickly; collage became a favorite medium among international modernists for [End Page 122] Click for larger view View full resolution Žilda, Mickey Mouse Is Dead, Paris, 2009 [End Page 123] Click for larger view View full resolution Žilda, Clair-obscur, Saint-Malo, France, 2010 its playful, ephemeral style and quick, spontaneous process—what Picasso called "one mad rush." ________ Picasso's work on collage had really begun five years before, when he forged an artistic friendship with Georges Braque. The French artist often compared their closeness to "two mountain climbers tethered together," and for years, in the evenings, they visited each other's studios to critique the day's work. They challenged each other to discover new techniques. When Braque began to add sand, cinder, sawdust, and coffee grounds to his works to increase the texture of his images, it launched in Picasso a flurry of activity. "I am using your latest papery and powdery methods," he wrote to Braque in a letter. He was referring to the scraps of wallpaper, sheet music, and oilcloth that he was pasting to his canvases. For Braque and Picasso, the medley of scraps salvaged from [End Page 124] Click for larger view View full resolution Žilda, Escaping Criticism, Paris, 2011 ordinary existence and employed in their work replicated the chaotic spirit of the times. By coupling unlikely images and materials, they were commenting on the frenetic world of modern Europe, with its escalating technologies, proliferation of handbills and posters, and blaring newspaper headlines of mounting political unrest. While the explicit definition of collage refers to the pasting-on of scraps that originate beyond the artist's studio, the definition loosened as different artistic traditions engaged the practice and made it their own, and the technique evolved. The futurists embraced the fundamentals of collage, but the Dadaists found the method too dainty and precious for a crumbling civilization on the brink of disaster. Artists such as John Heartfield and Hannah Höch explored Picasso's and Braque's innovations in photomontage, releasing them from standard artistic [End Page 125] Click for larger view View full resolution Alexey Kondakov limitations in favor of foraging for and then reassembling fragments of photographic material. Through the process of cutting and pasting ready-made images from cast-off periodicals, they became, as Heartfield describes, "engineers" who sought to express the absurd nature of the times. While the basic technique of cutting and pasting offered the Dadaists a way to dissolve barriers between fine art and wider culture, the surrealists reveled in collage's tendency to synthesize contradictory pictorial elements, which perfectly suited their recurring themes of the unreliability of logic, the value of dream, and the embrace of the absurd. Selecting, arranging, and making connections between disparate images gave their compositions a higher level of expressiveness and emotional impact. In their associative leaps and juxtaposed imagery, the pieces became [End Page 126] Click for larger view View full resolution Alexey Kondakov came picture-poems of a world that existed somewhere between imagination and reality. In the 1940s, when artists and intellectuals escaping World War II made New York City the new hub of modern...

A Body's Universe of Big Bangs

A Body's Universe of Big Bangs Leslie Contreras Schwartz (bio) A body must remind itselfto keep live, continually,throughout the day. Even at night while sleeping,proteins, either messenger, builder,or destroyer, keeps busy transforming itself or other substances.Scientists call these reactions—to change their innate structure,dictated by DNA—cellular frustration, a cotton-cloud nomenclature for crusade,combat, warfare, aid, unification,scaffold, or sustain. Even while the body sleeps, a jaw slackenedinto an open dream, inside is the dramaof the body's own substances meeting one another, stealing elements,being changed elementally,altered by a new story called chemical reaction.A building and demolishment,creating or undoing, the body can find movement,functioning organs, resists illness—or doesn't. Look inside every living being [End Page 124] and find this narrative of resistance,the live feed of being resisted.The infant clasping her fist or the 98-year-old releasinghers. This is how it should be,we think, a long story carried out to a soft conclusion. In reality,little deaths hover and nibble,little births opening mouthsand bodies the site of stories the tales given to us, and retold, retold,never altered, and the ones forgotten,changed, unremembered until this place is made of onlyourselves. Our own small dictators,peacemakers, architects, artists. A derelict cottage,a monumental churchstruck in gold, an artist's studio layered with paints and cut paper,knives and large canvas— the site the only placecontaining our best holy song: I will live. I will live. I will keep living. [End Page 125] Leslie Contreras Schwartz Leslie Contreras Schwartz is the fourth Houston Poet Laureate, serving from 2019-2021. A multigenre writer, her book Who Speaks for Us Here, will be released in spring 2020 (Skull + Wind Press). Her second book, Nightbloom & Cenote (St. Julian Press, 2018), was a semi-finalist for the 2017 Tupelo Press Dorset Prize, judged by Ilya Kaminsky. She is also the author of Fuego (St. Julian, 2016) and was a featured poet for the 2018 Houston Poetry Fest. Her work has recently appeared or is forthcoming in The Missouri Review, The Collagist, [PANK], Iowa Review, Verse Daily, Catapult, and Tinderbox Poetry Journal, among others. She is a graduate of the Program for Writers at Warren Wilson College and works for the peer-reviewed journal Tissue Engineering at Rice University. Copyright © 2020 Pleiades and Pleiades Press