Figurative Art Research Articles

STUDIO MOVEMENT IN THE UNITED STATES OF AMERICA: INFLUENCE OF KEY FIGURES AND LEADING CENTERS ON THE WORLD GLASS ART

The article reveals the activities of the key institutions and the most prominent figures in the glass art of the United States of America, contributed to the development and spread of the international glass studio movement worldwide. Particular attention is paid to the work of one of the most influential museum and research centers in the field of glass art research in the world – the Glass Museum in Corning, NY. Attention is also drawn to the work of the Glass Art Society, a public organization that brings together hundreds of artists, scientists, manufacturers and amateurs of art glass and pays considerable attention to the accumulation of informational resources. The work of the leading artists of the American art glass, pioneers of the world studio movement G. Littleton, M. Lipofsky, D. Chiguli, T. Patti, R. Marquis, T. Zinski and many others is analyzed. The stylistic and technological features of the artists individual compositions are indicated, and the basic typological characteristics of contemporary American art glass are determined on their basis. It is concluded that understanding of the concept of a studio glass from the beginnings of origin in the United States lies in the following planes: decorative, technological and experimental, conceptual and figurative. The activities of key centers, including museum, educational and industrial institutions, are outlined as well as their level of influence on the development of contemporary glass art is outlined. The description of one of the leading manufacturers of art glass in the USA, a company with centuries-old tradition of glass making Steuben Glass is show in the article. The influence for the international studio movement and development of the glass industry is made basing on the selected samples of the product range. The analysis of scientific sources is proposed and special attention is paid to their authors, who belong to the most prominent personalities of the world art history. The aim of the study is to highlight the activities of key educational, museum, production and organizational clusters, individual artists and scholars in the United States, which have contributed to the development of the international studio glass movement. Methodology of the research: methods of diachronic and synchronous description of artistic phenomena, method of formal analysis and synthesis, structural-functional and stylistically typological methods are used in the article. Relevance and scientific novelty. Ukrainian art studies considered the issue glass art mainly in the context of decorative and applied arts. With the advent of the concept of "fine glass" the question of a thorough rethinking of the terminological system and its introduction into scientific circulation raises. Actually the appeal to the original sources of the studio movement birth in the American art of the second half of the 20th century, as well as a thorough analysis of conceptual principles and a clear understanding of its functioning in the general context of world art will contribute to solving of this key problem. It is concluded that it was thanks to the American artists the international studio glass movement, the powerful artistic phenomena, began to spread in the world. The artistic centers and individual personalities of the United States continue to actively and successfully influence the overall development of contemporary world decorative and fine arts, glass art in particular.

The role of A. Norst’s activities in the research of musical culture of Bukovyna

The scientific topicality of the work lies in the study of the history of musical art of Bukovyna and identification of the role of individual personalities in the formation of the region’s musicological opinion. Among the figures of culture, art and education of Bukovyna, an important role was played by Anton Norst, whose cultural works have been known since the time of Austria-Hungary and have gained relevance and new recognition in our time. He became one of the first and most famous researchers of the culture and art of Bukovyna. Therefore, a need arose for scientific evaluation of his research and an outline of the significance of his activities in the process of formation and development of musicology in Bukovyna.
 The purpose of the article is to determine the role of Anton Norst in the study of musical culture of Bukovyna and the description of his work “The Society for the Promotion of Musical Art in Bukovyna. 1862–1902”.
 The methodology. While preparing the article, several research methods were used, in particular, biographical, historical, cultural and deductive, which made it possible to reveal new facts of Anton Norst’s life and determine his role in the development of musicology in Bukovyna.
 The results. One can learn about the development of Bukovynian culture, its musical life and the role of individual personalities in the process of the region’s cultural upliftment from the works of scientists, musicians and public figures of that time. Among the works of the Austro-Hungarian period, Anton Norst’s German-language work “The Society for the Promotion of Musical Art in Bukovyna. 1862–1902” stands out. A. Norst is an active participant and co-founder of numerous societies, chairman and honorary member of the Union of Journalists and Writers of Bukovyna. He is the author of numerous publications, poems, short stories, comic strips and reviews. Anton Norst’s edition is timed to celebrate the fortieth anniversary of creation of the organization that contributed to the development of musical art and education in the region.
 The scientific novelty lies in the fact that for the first time the role of Anton Norst in the development of musicology in Bukovyna was determined and an assessment of his work dedicated to musical and cultural processes in Chernivtsi during the Austro-Hungarian rule was given.
 Conclusions. The first cultural studies that appeared in Bukovyna are of significant value for modern musicology. Anton Norst’s book “The Society for the Promotion of Musical Art in Bukovyna. 1862–1902” was such a work. It became an important source of information about the development of musical culture of the region in the XIX — early XX centuries and a model of historical musicology of that time.

Preservation Of Art Culture As A Form Of Enhancing The Identity Of The Cireundeu Community As A Sunda Indigenous Ethnic Group

Sundanese culture is a national heritage that must be preserved as an ethnic group feature in Indonesia. However, as time goes on, a growing number of young people are losing their knowledge of the history, culture, and traditions that constitute the foundation of Indonesian identity. The target of this research is the Sundanese people in Cimahi City, West Java. This research intends to raise the awareness of the people in the Cireundeu Community about the preservation of Sundanese art which has the potential to become a richness of tranditions as identity, characteristics, revenue sources and economic productivity, and others. The undertaking consisted of observing the Angklung Buncis and Karinding art activities. In its implementation, this study obtained data from the community and also art figures from West Java. The research was carried out by employing a qualitative method with triangulation techniques. The primary data was obtained from experts in the field of art, while secondary data was acquired from literature reviews. The findings of this study aim to conserve Sundanese arts, particularly angklung buncis and karinding, which have a significant and valuable impacts on the society. The people of Cireundeu can demonstrate that the preservation of traditional arts in the face of modernization has its own beauty and provides economic prosperity, as well as fosters a greater sense of cultural pride in society.

Review: The Responsive Environment: Design, Aesthetics, and the Human in the 1970s

Review: <i>The Responsive Environment: Design, Aesthetics, and the Human in the 1970s</i>

Transposing Ovid’s Story of Myrrha: The Ideology of the Woman-Tree Figure in Early Modern European Visual Arts

Transposing Ovid’s Story of Myrrha: The Ideology of the Woman-Tree Figure in Early Modern European Visual Arts

Corpi di ragazze: oppressi, dimenticati, liberati. Una lettura incrociata tra infanzia e pedagogia di genere

We are born either female or male and become women and men through a long and arduous process of socialisation aimed at creating a clear and unequivocal link between sexual belonging and gender identity. A constitutive part of this gender-role training process is the disciplining of children's bodies, which is particularly oppressive in the case of girls. Starting from these premises, the essay will intersect the analytical tools of Childhood Education and those of Gender Education in the aim of investigating on one hand, the cultural and social cages that have historically moulded girls' bodies, and on the other, the unprecedented spaces of exploration and experimentation of diverse types of corporeity. More specifically, while drawing on the new "little girl" models conveyed by children's books, we will also look at contemporary figurative art and at the work of several female artists committed to deconstructing the stereotypes of feminine childhood.

A new Palaeolithic female figurine from Piatra Neamț, Romania

We report here on the 2019 discovery of an Upper Palaeolithic female figurine at the open-air site of Piatra Neamț in the Bistrița valley, Romania. This figurine, the first ever to be discovered in Romania, was found in an area in which Palaeolithic figurative art is extremely poorly represented and such figurines are absent. We shall present the first observations regarding the context of find and materials on the site, the results of the dating of occupations excavated so far and a detailed description of the figurine, for which low- and high-resolution microscopy was used. Its analysis involved several stages of research and the use of non-destructive methods: Particle Induced X-ray Emission (PIXE), FT–Raman vibrational spectroscopy, Computed tomography (CT) scan. In this way, ever since its first publication, the Palaeolithic figurine found at Piatra Neamț has been the subject of several interdisciplinary studies, which have allowed for better description and characterisation of the traces preserved on it.

Extended biography of Mykola Trokh

The article is dedicated to one of the most characteristic figures of Ukrainian art of the era of independence — the artist Mykola Trokh. It attempts to give a detailed reconstruction of his biography. The research is based on numerous documentary evidence stored in the Luboml Museum of Local History and the Mykola Trokh Charity Foundation archive, as well as on a number of publications made during the artist’s lifetime and after his death.

Reading Pontano’s “libretto co’ fogli di marmo”

This article explores Pontano’s funerary tempietto in Naples as a building in which inscribed text supplants the public functions normally accomplished through figural art. According special attention to the twelve sententiae which form the bulk of the exterior inscriptions – the facciate parlanti – the author highlights the uniqueness of placing a collection of ancient maxims on public display and demonstrates how Pontano’s printed gallery actively promotes dialogue with its visitors, embracing conversation, exchange and, ultimately, introspection as much as it celebrates the virtues of the deceased. While all of the sententiae draw from ancient literature and are consonant with Pontano’s moral treatises, only one, “know yourself” derives from the facade of a known building: the Temple of Apollo at Delphi. Combined with the chapel’s physical source in a Greek-styled freestanding cenotaph for Herodes Atticus’ wife, Anna Regilla, on the Via Appia, such a conceptual source from ancient Greek thought underscores the Greek, Socratic, Neoplatonic, conversational, and communicative contexts in which Pontano desired his tempietto to be read.

Векторы культуры

This is a review of a collected volume of articles prepared by Professor M. Stroganov for his 70th Anniversary. The book intertwines two main academic interests of the author, mixed up in a special, unique to the researcher, methodological paradigm. These are the attention to the literary or folklore text as well as the focus on the diversity of Russian culture in its broadest spectrum: song and singing, music and painting, and the various facets of the theatrical arts. These two components of academic exploration in the work of Stroganov are in constant interaction and mutual influence. The author goes on to explore not only the obvious manifestations of these connections, but also sees in them the d riving force of all Russian artistic thought, the search for the aesthetic ideal, and the answers to the burning questions of Russian life. The key aspect explored in the book’s chapters is the dialectics of high culture and mass culture. The author argues that mass culture is not just a negative episode in the development of a culture which should be resolved to avoid distortions, but a feature of the historical development of society. This occurs, according to the author, due to the fact that mass culture is formed simultaneously with the emergence of the original high literature. The opinions of many prominent literary and artistic figures against the cheap popularity of mass culture, its gravitation towards tastelessness, violation of sacredness, trivialisation and distortion of the sublime, provoke the author of the reviewed book to have a serious and substantiated discussion about the mass culture. For the author, mass culture has its own parameters and boundaries, with its own separate tasks and ways of realisation; it has its own reader-viewer-listener, and is thus the most important object of an academic study. М. Stroganov formulates the specifics of this object and creates a system for its analytical description.

THE USAGE OF THE EPISTOLARY HERITAGE IN THE PROCESS OF STUDYING THE BIOGRAPHY OF LESIA UKRAINKA

The article deals with the issue of using the epistolary heritage of Lesia Ukrainka as a significant original source for studying the biography of the writer, true evidence of her life and work.&#x0D; It claims that the epistolary heritage is an important source of cognition of Ukrainian fiction. It allows tracing the ways of forming the writer as a professional, the development of their literary and aesthetic views, features of the thinking process. It also highlights the relationship of the artist with famous contemporaries, and helps to understand artistic heritage, historical events.&#x0D; It concludes that the letters let scholars learn about writer’s friends, her like-minded people, about the national and cultural life of Ukraine, about the artistic preferences of various cultural and artistic figures of Slavic and European literature.&#x0D; It also points out the great cognitive and educational value of the epistolary heritage of writers in the lessons of Ukrainian literature.&#x0D; The emphasis is placed on the use of various forms and methods of working with letters that can help to form pupil’s personal attitude. It can be an important means of increasing pupils' interest in literature.&#x0D; It states that the epistolary heritage is the significant source for studying the biography of Lesia Ukrainka. It reveals her views on life and work, attitude toward the literary process and social life, especially the spiritual world of the writer. Therefore, the teacher of literature creates a certain emotional mood in the lesson, helps to penetrate into writer’s creative laboratory, to present worldview values, artistic and aesthetic preferences.&#x0D; It summarizes that reading Lesia’s letters helps pupils to feel and understand her worries. The epistolary materials make schoolchildren think about their own life and deepen into their own inward worlds. The use of epistolary materials increases students' interest in literature, the ability to understand the thoughts and feelings of others.

Homegrown Heroes: Peasant Masculinity and Nation-Building in Modern Egyptian Art

Abstract On January 18, 1938 the Fuad I Agricultural Museum in Cairo opened its palatial doors to the local public and featured four untitled portraits (1934–1937) of peasant men sporting distinctive costumes and handicrafts. The artist behind these prominent paintings was an Egyptian named Aly Kamel al-Deeb (1909–1997), whose early career combined commissions at official museums and participation in anti-establishment artist groups in Egypt. What could explain al-Deeb's transition from creating art in opposition to national museums, to painting for such institutions? This essay analyzes al-Deeb's four paintings, which I call Homegrown Heroes, and argues that they began shifting the urban Egyptian public's perceptions of the male peasant subject and his role in achieving national sovereignty. Many scholars put nationalist and avant-garde narratives of Egyptian identity in opposition. This essay reveals the patriarchal frameworks underlying representations of folk art and authenticity among nationalists and the avant-garde alike in their meditations on the peasant figure. Contextualizing Homegrown Heroes in the surrounding art and science displays, popular culture, and sociopolitical shifts of the interwar period shows that male peasant figures in Egyptian art transformed from passive symbols of cultural backwardness to heroic citizens who use folk-art practices to liberate Egypt from Western imperialism.

Special Monographic Issue on the History of Human Anatomy and the Anatomical Bases of Palaeopathology

It is our distinguished pleasure to introduce this special monographic issue of the Italian Journal of Anatomy and Embryology dedicated to the topics of the history of the anatomical sciences and the morphological bases of palaeopathological studies. These two branches of human anatomy, though deemed interesting and relevant to the field by a large number of scholars worldwide, are too often neglected or not developed into a self-standing, productive field of research and teaching, especially in Italy. This is particularly sad and detrimental if one considers that human anatomy was reborn in Italy after centuries of intellectual stagnation first at Bologna thanks to the teaching of the Mediaeval scholar Mondino de’ Liuzzi and later, during the Renaissance, owing to the interest showed by artists in the correct representation of human morphology and bodily proportions. &#x0D; This shows how rediscovering the discipline’s history inevitably leads its students to the realisation of the existence of an interplay between the figurative arts and the study of the human body, a bond which until the late 19th century was perceived as evident, self-explanatory and indissoluble. Moreover, it was precisely in that century that, from the anatomical discipline and its sub-branch osteology, stemmed biological anthropology, a subject which, now greatly enriched by biomolecular studies and by the assessment of mummified human remains, can help us discover the antiquity of humankind, its evolution as much as that of the diseases that characterised its historical path, a field traditionally called “palaeopathology”. &#x0D; In this collection of contributions encompassing all of the aforementioned areas of research and anatomical knowledge, we aim to stimulate our colleagues and students to rediscover the importance of these topics and to develop them into a higher research platform capable of bridging the so-called hard biomedical sciences and the humanities. &#x0D; Finally, we would like to express our deepest gratitude to Professor Domenico Ribatti, the journal’s editorial board and the Società Italiana di Anatomia e Istologia for kindly accepting our proposal and for the invaluable support they gave us throughout the editorial process. In addition, we would like to thank all the contributors and anonymous reviewers who have made this issue possible.

Wpływy cywilizacyjne i ich obiektywne odzwierciedlenie w ukraińskich podręcznikach do historii

The proposed review is devoted to an unbiased coverage in Ukrainian textbooks of the history of civilizational influences, namely: Kyiv's cultural tradition in European society since Ancient Rus and prominent cultural and artistic figures of Western Europe in Ukraine. Proponents of Eurasian integration claim that Ukraine had nothing to do with Europe, this thought is rejected. Numerous examples confirm Ukraine’s intensive ties with European states, its original ethnocultural space in Europe.

Figureless Art: Anti-Figural Trends in Jewish Art During the Late Byzantine and Early Islamic Periods by Noa Yuval-Hacham

Reviewed by: Figureless Art: Anti-Figural Trends in Jewish Art During the Late Byzantine and Early Islamic Periods by Noa Yuval-Hacham Oz Avraham Tamir Figureless Art: Anti-Figural Trends in Jewish Art During the Late Byzantine and Early Islamic Periods Noa Yuval-Hacham Magnes Press: Jerusalem, 2021. Pp. 381. ISBN: 978-965-7776-58-2 Noa Yuval-Hacham's book explores a subject that has, up to this point, not been systematically analyzed, namely aniconism and iconoclasm in the Jewish art of Late Antiquity. Apart from the critical importance of this topic to any examination of Late Antiquity, the book also stands out for its judicious methodological decision to cross-reference the literary sources with material culture. This book, which is based on Yuval-Hacham's doctoral dissertation, deals with changes in the attitude of Jewish society towards figurative art during the late Byzantine and early Muslim periods. Tolerance of figurative decorations declined sharply during this period, and the once-widespread use of figurative symbols ceased to be commonplace in synagogue art. In each of the book's two parts, the author discusses one of two parallel phenomena: aniconism, the avoidance of figurative images, and iconoclasm, the destruction of existing figures. In each part, the author covers the topic from several different angles, including material culture, rabbinic literature, and the context provided by nearby cultures, namely Samaritans, Christians, and Muslims. The book's first chapter analyzes the artistic findings from several synagogues, thus showing the decline in the use of figurative images. Yuval-Hacham discusses the different ways in which the trend toward aniconism was implemented—from less frequent use of figurative images to the elimination of these images—to suggest that these approaches are indicative of the diversity of Jewish society. Since there is no surviving textual-historical documentation of most of the Jewish communities of the period, material evidence is our only source of information about their way of life. In the second chapter, the author examines Jewish written sources to determine whether echoes of the aniconic trend can be found. Her conclusion is that although certain tannaitic, [End Page 555] amoraic, and post-Talmudic sources oppose the use of figurative images, they are few and far between, and no significant evolution appears to have emerged over different eras. Yuval-Hacham wisely notes that Jewish society was comprised of various streams, and it is quite possible that the synagogue communities were not rabbinic. The third chapter takes an intercultural approach by comparing trends in aniconism between Jews and Samaritans, based on the supposition that the Samaritans' avoidance of figurative art can be linked to the emergence of aniconism in Jewish art in the late Byzantine period. Material evidence reveals not only that the Samaritans did not combine human and animal figures, but that there are artistic and theological similarities between the Samaritans and the Jews. On the basis of this evidence, Yuval-Hacham suggests that the Samaritans played an important role in the aniconization of Jewish society. This conclusion may be somewhat overblown. The connection is certainly possible, but her claim of a transition of aniconic ideology from Second Temple Jewry to the Samaritans, and at the end of the Byzantine period from the Samaritans to the Jews, is insufficiently substantiated. The fourth chapter, which begins the second part of the book, focuses on the vandalism of figurative images in synagogues. Yuval-Hacham describes the material findings and presents the people responsible for the destruction and their roles, as well as the eras, causes, and circumstances of the destruction. She proposes that the vandals were members of Jewish groups who deliberately intended to modify the visual space of the synagogue, rather than external vandals. Most acts of vandalism occurred in rural synagogues in eastern Palestine, since many synagogues in other regions had already been abandoned before the iconoclastic trend. This chronological analysis may account for the difference between the extensive damage to stone reliefs and the merely sporadic damage to mosaics; many mosaics were damaged or left untended well before the emergence of iconoclasm. At the same time, the author stresses the halakhic difference between sculpture, which is three-dimensional, and painting or mosaics...

Perkembangan Lanskap Kesenian Bangkalan Pasca Beroperasinya Jembatan Suramadu

The aim of this study is to explain the changes in the cultural landscapes after Suramadu Bridge started operating. The data collection techniques were observation, interviews and documentation on art figures in Bangkalan. The data analysis methods were proposed by Miles and Huberman technique. The result of this studi show that the existence of the Suramadu Bridge does not have a significant impact of the development of arts in Bangkalan. This is marked by not many new arts studios appearing in Bangkalan. The local government’s attention to Bangkalan arts has also not changed. The responses of the people of Bangkalan to the arts has also changed. In the past, art was considered as a luxury. Now, it is still like that but if art has to be paid for, their reception is not good.

Mélancolie, illusion diabolique et création poétique

The sixteenth century inherited three discourses on melancholy: the medical, philosophical, and religious ones. While the first presented it as a mental illness linked to a disorder of the humours, the second, with the rediscovery of Aristotle’s Problem XXX, saw it as a sign of creative genius, and the third reminded us that it was, according to Saint Jerome’s expression, the balneum diaboli; it allowed Satan to take possession of the patient’s mind, causing him to hallucinate. So how can we distinguish the melancholy of the genius from the pathology of the same name, especially when the latter is associated with the devil? The devil’s ability to create illusory worlds on the border between dream and reality coincides with Renaissance artists’works populated by ghosts, monsters, witches and demons. Could not these scenes, presented both as manifestations of the devil and projections of the hallucinated mind, be linked to the figure of the melancholic artist?

Painting the mountains between Art and Earth Sciences during the second half of the 19th century. The case of the painter Claude Hugard (1816-1885)

This contribution studies the production of a new visual culture related to Earth Sciences during the 19th century. It especially considers the influence of Earth Sciences’ progresses on figurative arts, and the notions of territory and national soil as they’re shaped by the Romantic culture. In this context, mountains’ paintings are particularly relevant since they embody multiple layers of both identity-related and scientific issues. To analyze these new images of the Earth, the chosen case study is that of the rather unknown Savoyard painter Claude Hugard (1816-1885), and especially his landscape paintings for the museum of mineralogy of the École des Mines in Paris (1852-1859). This collaboration with engineers and geologist influences the painter’s career, showing the evolution of Earth Sciences’ visual culture and its dissemination during the second half of the century.

THE KIEVSKAYA STARINA CHRONICLE (1882–1906) IN UKRAINIAN CULTURE: ARTISTIC VIEW OF PUBLICATIONS

The purpose of the article is to find out the role of the Kievskaya Starina magazine in the study of Ukrainian art and its popularisation, as well as to identify the main trends of the publication of art studies materials in the magazine. The research methodology is based on both general scientific (logical and dialectical) and special methods (systematic, historical, and comparative). Scientific novelty. For the first time, the Kievskaya Starina magazine is analysed through the prism of publications of an artistic nature, the main varieties and role of such publications in the formation of Ukrainian art studies are identified. Conclusions. The Kievskaya Starina magazine, published in 1882–1906 during the existence of the Russian Empire under censorship and pressure on the Ukrainian cultural movement, had a significant impact on the formation and development of Ukrainian art studies. There are publications and documentary materials related to the development and state of Ukrainian art, paintings and music (in particular, the work of bandurysts and kobzars), architectural monuments, etc. The iconographic content of an artistic nature contains publications of reproductions of portraits of figures of Ukrainian culture, science, and politics, artistic illustration drawings that reproduced scenes from Ukrainian life, nature, architecture, individual household items, etc., in particular, there are reproductions of drawings by T. Shevchenko. The article defines the peculiarity of the approach to the publication of illustrative material, which serves not so much as an appendix to information, but as a propaganda of Ukrainian culture. The focus is on the initiation of certain scientific areas, in particular the iconography of the Ukrainian Cossack elite, during the functioning of the magazine. It is proved that many Ukrainian cultural and artistic figures (D. Antonovych, I. Karpenko-Kary, M. Kropyvnytskyi, M. Lysenko, O. Slastion, D. Shcherbakivskyi, etc.) of the late 19th – early 20th centuries are directly connected with the publication of the magazine as authors or editorial members, which confirms the special significance of Kievskaya Starina in cultural and art studies discourse. Today, it still has scientific potential due to the concentration of a significant amount of relevant information.

Race- and gender-based under-representation of creative contributors: art, fashion, film, and music

Motivated by the well-established benefits to society of artistic creation and of demographic diversity, we investigate the gender and racial/ethnic composition of influential contributors to four creative domains. Women make up 51% of the U.S. population but are underrepresented at influential levels of contemporary art (28%), high fashion (45%), box office film (27%), and popular music (17%). Marginalized racial/ethnic groups make up 39% of the U.S. population yet comprise approximately half that figure in contemporary art (22%), high fashion (22%), and box office film (19%). Black musical artists have higher representation (48%), though higher representation does not equate with equity and inclusion. As for intersecting identities, white men are overrepresented in all four domains by factors ranging from 1.4 to 2 as compared to the U.S. population, and most other gender-racial/ethnic groups are further minoritized. Our study is the first comprehensive, comparative, empirical look at intersecting identities across creative fields. The exclusion of marginalized individuals, including those who are women, American Indian/Alaska Native, Asian, Black, Latinx, and Native Hawaiian/Pacific Islander, is severe. The lack of self-expressed demographic data is a challenge, as is the erasure of certain identity groups from the American Community Survey, including agender, gender noncomforming, nonbinary, and transgender individuals. These are challenges that, if addressed, would enhance our collective understanding of diversity in creative fields.