Professional Artists Research Articles

Observed Injury Rates Did Not Follow Theoretically Predicted Injury Risk Patterns in Professional Human Circus Artists.

Identifying which types of athletes have increased injury risk (ie, predictive risk factors) should help develop cost-effective selective injury prevention strategies. Our objective was to compare a theoretical injury risk classification system developed by coaches and rehabilitation therapists, with observed injury rates in human circus acts across dimensions of physical stressors, acrobatic complexity, qualifications, and residual risks. Descriptive epidemiological study. professional circus company. Human circus artists performing in routine roles between 2007 and 2017. Characteristics of circus acts categorized according to 4 different dimensions. Medical attention injury rates (injury requiring a visit to the therapist), time-loss injury rates (TL-1; injury resulting in at least one missed performance), and time-loss 15 injury rates (TL-15; injury resulting in at least 15 missed performances). Among 962 artists with 1 373 572 performances, 89.4% (860/962) incurred at least one medical attention injury, 74.2% (714/962) incurred at least one TL-1 injury, and 50.8% (489/962) incurred at least one TL-15 injury. There were important inconsistencies between theoretical and observed injury risk patterns in each of the 4 dimensions for all injury definitions (medical attention, TL-1, and TL-15). Although theoretical classifications are the only option when no data are available, observed risk patterns based on injury surveillance programs can help identify artists who have a high (or low) theoretical risk but are nonetheless actually at low (or high) risk of injury, given their current roles. This will help develop more cost-effective selective injury prevention programs.

Glaciers are for girls: the inaugural expedition of Girls on Ice Austria succeeded in empowering nine young women in August 2021

Abstract. Girls on Ice Austria, an organization that encourages young women to stretch themselves through wilderness and glacier travel, camping, science and art, successfully completed their inaugural expedition in August 2021. Nine girls from Austria, Germany and Italy joined science instructors specializing in glaciology and meteorology, two professional artists (an actress and a painter), and a professional mountain guide for an all-female, week-long expedition to Bachfallferner glacier in the Ötztal. The team learned basic mountaineering and climbing skills, conducted scientific experiments including measuring the daily melt rate of Bachfallferner glacier, and pushed their creative boundaries. The all-female nature of Girls on Ice, and Inspiring Girls Expeditions (the umbrella organization) is meant to show young girls that women are capable of successfully filling traditionally male roles (such as in glaciology and mountaineering), to introduce the next generation of girls to the world of mountains and glaciers, and to encourage them to bravely and confidently pursue these career paths.

Between social documentary and a global aesthetic: the use of landscape by early-career South African photographers

This article examines work from three South African artists—Vincent Bezuidenhout, Renzske Scholtz, and Jabulani Dhlamini—and argues that they use landscape images to find alignment or clarity between themselves, the social and political history of their country, and its land. Caught between a generation of activists who immersed themselves in views of a contested landscape, and another generation who did not experience life under apartheid, these photographers must balance what they see in the landscape in a contemporary context and its history into their representations. In “Separate Amenities,” Bezuidenhout examines how segregated recreational areas inscribed racist views into the South African coastline. In her series “The Farm,” Scholtz uses triptychs to combine archival imagery, contemporary photographs, and personal artifacts from a family property that was bought by the apartheid state and used as a prisoner camp. Jabulani Dhlamini revisits locations in the Sharpeville township connected to the 1960 Sharpeville Massacre. Finally, this article asserts that the landscape medium offers artists such as Bezuidenhout, Scholtz, and Dhlamini a space in which to mediate and engage the influence of the social documentary tradition in a post-apartheid art-making context—all while developing their identities as professional artists engaged in a global photographic dialog.

VR – The Digital Intersection of Video Games and Immersive Theatre

The coronavirus pandemic has been detrimental to live theatre everywhere; however, it has forced us to explore the possibilities within the digital landscape as in-person interactions continue to be limited. Virtual reality, or VR for short, has exploded in popularity due to its escapist and endless possibility, but it also demonstrates inherent elements of game design and theatricality in its applications and experiences – so to what extent do we see such elements and how do they apply? Using preliminary studies in video game and immersive theatre philosophy, interviews with professional artists in these fields, and my own experiments on the Oculus headset, we see connections of concepts such as presence, interactivity, and aesthetics being made in VR, as are similar terms found in theoretical discussions of gaming and immersivity. This connection also recognizes the logistical problems like accessibility and ethics, and though conversations are still developing on these subjects, we can consult with each industry to analyze and predict outcomes of different procedures. This intersectionality of technology and the arts is not new; however, it is underutilized – digital theatre presented a way for people to connect during the pandemic, but with VR, we are given the chance to interact more authentically in a shared, online space.

De onde se vê: People’s Palace Projects e a cidade do Rio de Janeiro

ABSTRACT Since 2002, Rio de Janeiro has been a place from where the People’s Palace Project (PPP) beholds the world. Created in 1997, the PPP is a research centre and a professional arts organisation that aims to explore how the arts can respond to urgent social crises and fight social injustice. In this article, the PPP’s artistic director, Paul Heritage, and research and project manager, Mariana Steffen, recover previous writings and engage in conversation to revisit the organisation’s history and its relation to the city of Rio de Janeiro. The PPP seeks to bring arts to life through research and collaborations, but most of all through listening. As we recount its previous projects and experiences — cocreated with a range of partners from the city’s peripheral urban communities —, we reflect on how the arts provide a new lens to view the city, to capture its nuances and reposition the slum (favela) on a map made of music, theatre and colour.

The Open Gallery for Arts Research (OGAR): An open-source tool for studying the psychology of virtual art museum visits.

To expand the tools available to arts researchers in psychology, we present the Open Gallery for Arts Research (OGAR), a free, open-source tool for studying visitor behavior within an online gallery environment. OGAR is highly extensible, allowing researchers to modify the environment to test different hypotheses, and it affords assessing a wide range of outcome variables. After describing the tool and its development, we present a proof-of-concept study that evaluates OGAR’s usability and performance and illustrates some ways that it can be used to study the psychology of virtual visits. With a sample of 44 adults from an online participant panel who freely explored OGAR, we observed that OGAR had good usability based on high scores on the System Usability Scale and rare instances of self-reported nausea, among other usability markers. Furthermore, using position and viewing data provided by OGAR, we found that participants navigated the gallery and interacted with the artwork in predictable and coherent ways that resembled visitor behavior in real-world art museums. OGAR appears to be a promising tool for researchers and art professionals interested in how people navigate and experience virtual and real art spaces.

The art of Jane Orleman: childhood trauma and the discourse of sexual violence

ABSTRACT Jane Orleman (American, born 1942) is an artist and a survivor of child sexual abuse. Through paintings she created during therapy, Orleman rejects the gendered and patriarchal binaries between therapeutic art and professional art, which pit the private, feminine, and intuitive against the public, masculine, and intellectual. By analysing selected artworks from Orleman that embody her child self, young woman self, and alternative self, I propose that Orleman reflects on and challenges the pathology of sexual trauma along with the discourse of sexual violence as a political statement. Therefore, I argue that her art deserves to be part of a larger, counternarrative, anti-rape and anti-incest cycle in contemporary American art.

Gamification in the training of future culture and art professionals: experience of EU countries

En las últimas décadas, el número de estudios científicos sobre la gamificación educativa ha aumentado considerablemente. Por ello, el estudio ha establecido la naturaleza ambivalente de la gamificación como una influencia dual en las características del proceso educativo. Se ha utilizado métodos científicos generales (análisis, síntesis, inducción, deducción, etc.) para establecer la eficacia de la gamificación en el proceso educativo en el ámbito de la cultura y el arte. El objetivo del estudio es establecer las bases fundamentales del funcionamiento de las prácticas de juego en el marco del aprendizaje. El tema del estudio hoy sigue siendo relevante ya que se correlaciona con los problemas de digitalización de la esfera educativa en el contexto del desarrollo tecnológico y las condiciones de cuarentena. La conclusión proporciona una justificación para la posición de perspectiva de nuevas formas de conducir el proceso educativo en condiciones de emergencia o preferencias personales de sus participantes. La importancia práctica de este estudio radica en la posibilidad de analizar la experiencia de los países europeos sobre la implicación de la gamificación en el proceso educativo y la búsqueda de vías de mejora.

100 years of Mari fine art: socialist realism (late 1930s – 1980s)

Introduction. The article continues a series of publications dedicated to the 100th anniversary of the Mari autonomy and the emergence of professional fine art among the Mari people. It characterizes the period of socialist realism. From the point of view of the development of the national fine arts of the Mari, socialist realism needs to be comprehended using new methodological paradigms. Materials and Methods. The fine arts of the Mari Region have been analyzed using the author’s cultural and archetypal approach and the methods of historical research. The research materials include works of fine art from the museums of the Republic of Mari El, documents from the State Archives of the Republic of Mari El, media publications, newsletters and catalogs. Results and Discussion. In the history of the Mari art of socialist realism, two stages have been defined. The first one is the period of recovery after repressions and the Great Patriotic War in the late 1930s – 1950s. The second one is the heyday of the fine arts of the Mari ASSR in the 1960–1980s. Socialist realism as an artistic method is indirectly representative of the process of ethno-cultural reflection as the essence of national fine arts, it is focused on showing the achievements of ethnic cultures in the modernization of the economy and culture. V. I. Lenin is represented as a teacher close to the people (by analogy with Kugu Yumo) in the pantheon of political leaders. The cultural hero is typified through the image of a national cultural figure, a machine operator, and historical personifications. The semantics of the image of a war veteran is supplemented by the function of the world tree on the social field. The female archetype is represented by the type of a collective farmer and milkmaid, less often it is represented by a woman engaged in creative or intellectual work. Conclusion. The era of socialist realism is the most important period in the formation of professional fine arts in the Mari Region, also being a national and ethnic phenomenon. The ambivalence of socialist realist artistic practice lies in the fact that, on the one hand, reflection boils down to the use of national ethnographic signs for visual agitation for socialism, to ignoring real mental processes, and on the other hand, a real process of modernization of national culture emerges through an ideologically idealized form. The ambivalence of socialist realistic artistic practice lies in the fact that, on the one hand, reflection boils down to the use of national ethnographic signs for visual agitation for socialism, to ignoring real mental processes, and on the other hand, a real process of modernization of national culture emerges through an ideologically idealized form.

Analysis of the Role of Decision Tree Algorithm in Art Education Based on the Background of the Internet of Things

In recent years, transportation, medical care, energy, and other fields have relied on a number of smart technologies such as the Internet of Things and cloud computing, and the degree of intelligence has continued to increase. As a key part of the future development of cities, education is facing tremendous pressure and challenges. How to use all kinds of smart technologies to promote the informatization of education and create a new era of smarter education is an important mission of current smart education. Decision tree classification is a frequently used technique in data mining. It has the characteristics of fast classification and high efficiency. It is not only used to analyze data but also to make predictions. Professional art education occupies an important position in college education. How to combine decision tree algorithms to develop targeted and effective professional art education and to strengthen the teaching reform and research method innovation of art design has become the current teaching work of colleges and universities. The purpose of this paper is to optimize the teaching mode of art courses in colleges and universities, improve the teaching effect of art classes, and realize the teaching goal of art courses. In this paper, art curriculum teaching experience and the reality of teaching research, through analyzing three local questionnaire surveys of college students, based on the principle of students’ subjectivity from the topic content, organization form, evaluation mode of college art teaching in our student autonomy, initiative, and the role of creative mechanisms are discussed. According to the practical teaching activities of art courses conducted in this paper, the satisfaction degree of college students with art courses is up to 92%, which indicates that this experiment is still relatively successful and significant, and arouses students’ subjectivity to some extent.

The Application of Medical Tattooing in Cosmetic Breast Surgery.

Historically, medical tattooing has mainly been applied to correct or simulate the nipple areola complex among breast cancer survivors postmastectomy. Our purpose was to extend the application of medical tattooing to other cosmetic breast surgeries in a complimentary fashion and to improve aesthetic outcomes through scar blending, areola extension, and/or decorative appliques. Two case studies in which medical tattooing was applied following breast augmentation or reduction are presented. Our clinical procedures are described, including assessment, treatment planning, equipment, inks, and considerations for topical anesthesia. The two cases illustrate the range of applications of medical tattooing in cosmetic breast surgery from minor touch-up, to using elaborate decorative appliques for camouflage. Preoperative photographs, and postoperative patient photographs illustrating good aesthetic outcomes are presented. The field of medical tattooing is effective and is expanding rapidly but needs professional direction. We suggest plastic and cosmetic surgery practices develop active and intentional relationships with professional tattoo artists. Professional medical organizations should lead the development of medical tattoo assistant training and credentialling. Priorities for future research are described.

“I'm not the best at art”: An exploration of children's growing sense of artistry within an outdoor, arts-based intervention

This paper uses a case study approach informed by ethnography to explore children's engagement with an outdoor, arts-based intervention run by Urban Wilderness. Over the course of three two-and-a-half-hour sessions, 10 children (aged between 9-10 years old) worked with two Urban Wilderness facilitators and a professional artist to create a piece of art which was exhibited at a locally based family arts festival. Each session was recorded using audio and video equipment. These recordings, along with photographs, field notes and interviews were collated and analysed using interpretive ethnography. Analysis centres on three themes – drawing inspiration from the outdoor environment, developing the design, and choosing the design. Within the analysis, particular consideration is given to the experiences and artistic journeys of two boys who participated in the intervention; specifically, their lack of artistic confidence, their attempts to adopt differing approaches, and the support mechanisms utilised by adult facilitators. It is argued that in a time when art is being increasingly squeezed out of the English National Curriculum, community run art interventions can play a valuable role in supporting artistry in children and developing their identity as artists.

Co-creative art processes with patients: A theoretical framework and qualitative study among artists

A cancer diagnosis may be experienced as a contingent life event. Co-creation—in which artists together with patients create a work of art reflecting on aspects of the patients’ life story—may be used to support patients to integrate such a contingent life event into their life story. We conducted a qualitative study in which we interviewed 10 professional artists to explore if co-creative art processes could facilitate integration of experiences of contingency in patients. Template analyses were performed in AtlasTi. We identified co-creation as a specific form of support to the process of integration of experiences of contingency. In the formation of a new life narrative, patients transcend the boundaries of their previous life narrative by changing their perspective. Self-transcendence forms a pivotal point in co-creation, which may be helpful for patients to integrate experiences of contingency into their life narratives.

Editorial Commentary

Editorial| April 01 2022 Editorial Commentary: The Politics and Praxis of Peer Review in Art History Publishing: Challenges, Ethics, and Reform Charlene Villaseñor Black, Charlene Villaseñor Black Charlene Villaseñor Black is professor of art history and Chicana/o studies at UCLA. She authored Creating the Cult of St. Joseph: Art and Gender in the Spanish Empire (Princeton UP, 2006) and edited Tradition and Transformation: Chicana/o Art from the 1970s through the 1990s (U of Washington P, 2015). Search for other works by this author on: This Site PubMed Google Scholar Anna Indych-López Anna Indych-López Anna Indych-López is professor of Latin American and Latinx art at The Graduate Center and The City College at CUNY. She authored Judith F. Baca (U of Minnesota P, 2018) and Muralism without Walls: Rivera, Orozco, and Siqueiros in the United States, 1927–1940 (U of Pittsburgh P, 2009). Search for other works by this author on: This Site PubMed Google Scholar Latin American and Latinx Visual Culture (2022) 4 (2): 3–9. https://doi.org/10.1525/lavc.2022.4.2.3 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Charlene Villaseñor Black, Anna Indych-López; Editorial Commentary: The Politics and Praxis of Peer Review in Art History Publishing: Challenges, Ethics, and Reform. Latin American and Latinx Visual Culture 1 April 2022; 4 (2): 3–9. doi: https://doi.org/10.1525/lavc.2022.4.2.3 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentLatin American and Latinx Visual Culture Search Peer review, the anonymous evaluation of our research by equals in our field, is fundamental to scholarly publishing. It can help assess the soundness of new research, arguments, critical frameworks, and methodologies. Peer review also forms the foundation of deliberations regarding tenure and promotion for academics in the United States. Thus, peer review represents one of the most critical aspects of one’s career in academia and the future of our field as a whole. This coauthored commentary assesses the politics and praxis of peer review from the point of view of Latin American and Latinx visual culture studies. How have traditional reviewing practices affected our fields in the past, and how can we improve the process of peer review going forward? Looking at this issue from our viewpoint as specialists in Latin American and Latinx art provides a unique and illuminating vista, one that has the potential to have an... You do not currently have access to this content.

The Divine Feminine in Mormon Art

The Divine Feminine in Mormon Art

Донской военный портрет: атрибуция, содержание, интерпретация

The Don military portrait is studied as one of the directions of Russian portrait painting of the first half of the 19th century, closely connected with the Cossack class and cultural traditions, the formation of the officer corps and generals, the Don nobility. The dependence of images on public opinion and military-political events in the country, the skill and knowledge of professional and amateur artists, their belonging to local or academic creative schools is shown. As the part of the military portrait, the work stands out with the coat of arms of the Ataman of the Don Army, cavalry general Maxim Grigoryevich Vlasov, emphasizing his personal status and new social position. The attribution, content and interpretation of portraits is carried out using both traditional approaches and with the broad involvement of the historical and subject method, based on auxiliary historical disciplines - uniformology, genealogy, heraldry, phaleristics and prosopography. It is stated that when painting portraits, the artists sought to comply with the rules and requirements for uniforms, awards and heraldry. But there were also serious inaccuracies that mislead researchers. For the first time, the mechanism and methodology of the scientific study of a military portrait, which are important for the Don and Russian portraiture of the 19-20th centuries, are revealed in detail. The composition and symbolism of the portraits are characterized. The debatable issues of studying the Don portrait are characterized, various versions of their attribution and content are proposed on the basis of royal awards, imperial legislation, military events in Russia and abroad. The dates of the portraits are being clarified.

Genre as a Musical Sign of the Era in the Novel “Tango of Death” by Yurii Vynnychuk

Relevance of the study. The Ukrainian urban space and the stages of its formation is a promising and one of the most relevant vectors for the study of Ukrainian history. Nevertheless, Ukrainian cities, as centers of the formation of professional art and major cultural trends, still rarely become the subject of scientific research necessary for a holistic understanding of our history. The article deals with the novel by Yurii Vynnychuk, which is dedicated to the history, culture and musical life of the city of Lviv. Insufficient knowledge in the scientific literature of the place and significance of the musical sphere in the heritage of Ukrainian writers, in particular, Yurii Vynnychuk, forms the relevance of this article.
 Main objective of the study is to determine the role of musical art in the creativity of Yurii Vynnychuk using the example of the novel “Tango of Death”, to explore the semantics of the tango genre for the author of the novel, and to study and characterize the musical source, which became the central artistic object of the novel “Tango of Death”.
 Research methodology. The research methodology includes the use of historical, contextual, sociological, etymological, comparative typological methods, as well as the method of intertextual research.
 The results of directorial artifacts. The musical experience of Yurii Vynnychuk and knowledge of the history of Lviv contributed to the diversity of the musical and artistic layers involved in the novel “Tango of Death”. The main place in the novel belongs to the musical composition of the same name “Tango of Death”. Its music becomes an instrument that has the functions of a conductor of the soul with the possibility of its rebirth in the next life. Also, the music of “Tango of Death” appeals to the era itself, for which tango is the leading genre that keeps the memory of the lost generation. The musical prototype of tango in Yurii Vynnychuk's novel is the pre-war Polish hit “To ostatnia niedziela”, created in 1935 by Jerzy Petersburski and Zenon Friedwald. The analysis of the metrical structure of the syllables of the stanzas reveals the coincidence of the structure of the first part of the stanza of Jerzy Petersburgsky's tango with the stanza composed by the author of the novel. This fact may indicate the desire of Yurii Vynnychuk to generalize the image of tango through the references for the genre itself, thanks to the preservation of dance rhythms with its metric repetition. The study of the polyfunctionality of intermedial connections between the artistic text of Yurii Vynnychuk and the musical-intonation sphere of culture opens up new facets of understanding the novel and the entire literary heritage of the author.

To sources of polysematics Kitch (on the example of the “spiritual song” of the XVII–XVIII centuries)

The article proposes a consideration of the phenomenon of Kitch in the context of the development of the culture of Western Europe, the flow of cultural processes of which was significantly different from the processes that occurred in the culture of the colonized part of Ukraine in the 17–19th centuries. The main reason for such differences was primarily in aristocratic imperatives and educational tendencies, which aggregately contributed to the development of art in the whole Europe. During this period, Ukraine was at the crossroards of Metropoles and, as a result of historical circumstances, was not able to develop similarly to Western European conditions. The lack of dominant role in society, and, in particular, the absence of universities, concentrated creative progress within church art and imitation of western samples, as well as the development of amateur art, which will form a whole layer of “Grassroots” culture. In fact, in the Baroque period in Ukraine only polyphony was introduced into the liturgical rite and a party concert on the Western model was staged. At the same time, the musically educated intelligentsia, which was concentrated at Kyiv-Mohyla Academy, composed chants, spiritual songs and brought them to the lower strata of society. Since all this was closely connected with the church rite, over time, the leading place in society was taken by the spiritual aristocracy, which gradually took over the educational mission of the people. The introduction of the practice of salons in Ukraine in the 19th century, the tradition of home music, in fact, had no resistance, because this tradition was nurtured mainly in the families of priests, who at that time had an authoritative influence on the processes taking place in society. On this basis, the use of means of “Kitch” was detected long before this term appeared with internal polysemantic characteristics in Germany of the XIX century. We believe that kitsch in music appeared when the society intuitively needed it, even in periods when this term did not yet exist, but the principles and methods that later became the basis of definition, and formed the basis of the conceptual structure of kitsch, had already been in existence. In essence, kitsch was a measure that balanced culture within different social strata and social needs, as well as disseminated it. Differences in the functioning of the kitsch phenomenon were observed: in European countries kitsch had negative semantics, in Ukraine, on the contrary, the most relevant examples of European cultural achievements were spread and interpreted in their own way. This blurred the border between “low” and “high” culture. Apparently, this is the main reason that the phenomenon of “kitsch” in Ukrainian culture played a positive role, helped to supplement the missing links and relieved tension in the confrontation between “an original” and “a copy”. This prepared a solid foundation for the emergence of Ukrainian professional art in the twentieth century.

Let us progress! Implementing professionally led arts-based programming in senior centers

ABSTRACT The arts offer a cost effective and appealing approach to healthy aging. The purpose of this study is to evaluate the development and implementation of three creative aging pilot programs led by professional teaching artists in multipurpose senior centers. The process of recruitment focused on professional teaching artists, senior center directors, and program participants. Data collection documented attendance, field note observations, participant demographics, self-reported health, and satisfaction. Open-ended interviews detailed individual experience, learning opportunities, dislikes, and both program and instructor feedback. Analysis involved descriptive statistics and apriori pattern coding. Outcomes are reported specific to each program developed, including: 1) readers theater, 2) choir, and an 3) Improvisation/Movement class. A total of 35 older adults participated in all three programs. The choir had the highest average of regular attendance, while the improvisation/movement class struggled with recruitment. Overall satisfaction was high across all programs, with participants expressing enjoyment with courses that offer a challenge and desired that courses continue. This study emphasizes the importance in collaborating with centers to develop high quality programming and recommends strategies to facilitate program sustainability. Future program development and instruction may be improved through application of lessons learned.

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The Rijksmuseum Bulletin is the quarterly, peer-reviewed journal presenting scholarly articles that contribute to historical and art-historical research into the Rijksmuseum collections to an international audience of curators, scholars, students, art professionals and enthusiasts.