Young Artists Research Articles

Depictions of Aging in a Self-Portrait by David Bailly (1584-1657).

I present a case involving a portrait of David Bailly, containing 2 images portraying changes over a period of ∼40 years, and I compare the facial features that illustrate the aging process. He was 67 years old when he painted "Self-Portraits With Vanitas Symbols" (1651). By juxtaposing past representations with present reality, the painting suggests that the young artist is contemplating his future aging. The young man, appearing so vividly within the painting's immediate reality, actually symbolizes a bygone era Compared with the young portrait, the older portrait exhibits a slightly drooped eyebrow tail, indicative of brow ptosis. In the young portrait, the lid margin is aligned with the upper border of the iris, whereas in the older portrait, it is aligned with the upper border of the pupil. The margin reflex distance 1 decreases with age. In addition, the older portrait shows baggy lower eyelids. The nasojugal groove is more pronounced, and the nasolabial fold is deeper. The beard and mustache are more extensive, and silver strands are interspersed among the black hairs. Presenting 2 images from a 40-year interval, the older portrait exhibits more pronounced signs of facial aging than the younger portrait. Portraits from that era, whether painted by western or eastern artists, demonstrate that the painters had an understanding of facial skin lines and the aging process. The process of creating portraits provides insights into historical contexts and remains significant in contemporary settings, particularly concerning perceptions and identity.

It’s new, it’s revolutionary, and it’s modern: Vietnamese indie music in the age of digital streaming platforms

ABSTRACT In Vietnam, ‘indie music’ is an internet-based phenomenon that began in late 2015, spearheaded by a generation of young GenZ artists on the music sharing platform SoundCloud. As a contribution to the current special issue, this article examines the relationship between Vietnamese indie music and streaming platforms. It shows how the genre was formed through the technological affordances of platforms such as SoundCloud and YouTube, and how it changed with the entry of Spotify. The findings show that Vietnamese indie music is co-produced on digital platforms through three means: users’ interaction, algorithmic recommendation system, and platform curation. These factors come together to deliver to listeners a sense of a new cultural formation that is different from how popular music has been traditionally produced and delivered in the past. When Spotify launched in the country in 2018, Vietnamese indie musicians saw it as a means to publish, to protect their copyrights, and to get publicity, something that domestic institutions or infrastructures did not provide. From this perspective Vietnamese indie music can be seen to represent the musicians’ entrepreneurial desires, rather than the oppositional politics that have historically been associated with indie music elsewhere.

Synthesis of Arts by means of Sculpture Forms

The purpose of the work is to characterise the syncretism of sculptural forms in the development of monumental Ukrainian sculpture; emphasise the national features of the development of national sculpture on the example of the works of modern Ukrainian sculptors. The methodology of the work consists in the principles of holistic and systemic approaches to the study of the synthesis of arts in the sculptural forms of Ukrainian artists. An analytical method was applied to study scientific approaches to the synthesis of arts, as well as an artistic-stylistic method, as well as a system-functional method to the structuring of artistic works as a phenomenon of modern monumental sculpture. The scientific novelty of the study consists in the discourse on the synthesis of arts in the art history environment, characterising some works of art that belong to the category of monumental sculpture. Conclusions. It should be noted that in the Ukrainian art space there is a synthesis between classical forms and intermedia installations, which creates a complex and multi-layered context for modern artists. The perception of time, space and material becomes plastic and changeable, and this, in turn, stimulates the development of new aesthetic forms. Sculptural images have a significant influence on the formation of styles of young artists, where the emphasis is not only on silhouettes, but also on specific elements originating from various forms. Artists build associative visual sequences, embodying unrealistic, yet deeply symbolic images that resonate with viewers on an emotional level. In the examples from the workshops you mentioned, we see how a variety of materials and art forms and execution methods are used to create coherent and complete images that reflect the synthesis of different arts. The theme of the synthesis of arts in different sculptural forms, which sometimes seem completely incompatible, is indeed one of the most relevant for research.

Kim Bok-jin - the founder of national sculpture in Korea during the Japanese colonial period

This study analyzes the biography and work of Kim Bok-jin (pseudonym: Chongwan), the first Korean to graduate from the sculpture department of Tokyo University of the Arts in Japan during the Japanese colonial period (in 1925) and the first sculptor to introduce Western realist techniques to Korea. The study will also examine the national motifs in the works of Kim Bok-jin against the backdrop of a difficult historical period, and analyze a number of his little-known works through the prism of Korean studies. The main content of the study is the sculptures of Kim Bok-jin “standing woman”, “statue of Maitreya Buddha” “Baek Hwa”, “Youth (Boy)”, “Old man”. He is a significant figure in Korean sculpture: from 1925 until his death in 1940, Kim Bok-jin regularly exhibited his works at the Joseon Art Exhibition, and in addition to his artistic activities, he also ran the Art Research Institute, nurturing young artists. He also engaged in journalism, criticism, and political activity as a member of the Joseon Communist Party. The purpose of this study is to rethink the work of Kim Bok-jin, the founder of Korean sculpture, who was posthumously awarded the Order of Merit of the National Foundation in 1993.

Painting as Existential Experience: the Work of the Painter Rimvidas Jankauskas-Kampas

The aim of the article is to study the life and creative work of the famous Lithuanian artist Rimvidas Jankauskas-Kampas in the context of socio-cultural phenomena of the late 20th century. Results. Paintings of Rimvidas Jankauskas-Kampas (1957–1993) give an impression of intriguing, temperamental, obscure and enigmatic creative work. The artist lived for a short time, as his life ended unexpectedly when he was only thirty-five years old. The painter is strongly etched in the memory of his contemporaries, and his personality, as well as creative work are intertwined with things that may not even exist. Nowadays, a lot of people talk about Rimvidas Jankauskas-Kampas and his paintings. This bright personality achieves more and more colourful tones, and is vividly portrayed. Art historians are interested in his artistic legacy. The artistic work of this painter remains a subject of interest and discussion among artists and art critics. It is fought over at public auctions, and in the shadow of the art market. After graduating from the Vilnius Art Institute (now the Vilnius Academy of Arts), the young artist was thrust into a period of political change. The liberation of Lithuania from the Soviet Union meant new opportunities and creative freedom for him and other artists. Scientific novelty. This article is the first attempt to analyse in detail the oeuvre of Rimvidas Jankauskas-Kampas, as during the period of political changes, his paintings became a symbol of creative freedom. Conclusions. In fact, this outstanding artist brought many innovations to Lithuanian painting. The painter intuitively found a new concept of abstract painting in Lithuania. His main idea was to improvise freely on a very large canvas, and to paint nature alla prima. Free colour improvisations in his work only appeared after long sessions in painting plein air workshops. Rimvidas Jankauskas-Kampas stood out because he did not care about subtle colour nuances, or even for the whole expressive colourist school of Lithuanian painting. His abstractions are like a short and precise message spoken aloud.

PhEminist skins of resistance: creative activism as a decolonial tool for the empowerment of young people within the neo-liberal educational setting

ABSTRACT In this article, I discuss the legacy of the art historical trope of the female nude in perpetuating colonial narratives that inform young women’s understanding not only of the idealized female body, but also what is perceived as ‘good’ drawing in the contemporary art classroom. Theoretically informed by phEmaterialism (feminist new materialism and post-humanism in education), I review the skin as a post-human assemblage to diffract heteronormative and raced colonial imaginings of the female skin. I discuss the PhEminist Skins project, a collaboration with six young women artists (the YWAs), where critical engagement with creative methods, such as life drawing, mobilized the agency of the skin and created opportunity for creative activism. I further share how the methods developed by the YWAs instigated the creation of The Centre for Creative Explorations, a creative research centre that explores alternative pedagogical approaches to the decolonial endeavour in secondary education.

제주해녀문화 관광자원화의 진정성과 지속가능성 - ‘해녀의 부엌’을 사례로

The purpose of this study is to critically examine the tourism of Jeju Haenyeo culture from the perspective of ‘authenticity’. In order to ensure the sustainability of tourism resources of Jeju Haenyeo culture, it is necessary to form an authenticity that can bring out the experience and impression of Jeju Haenyeo strongly to tourists visiting Jeju. In particular, it is important to strategically form objective authenticity and constructive authenticity in order to draw attractive and intense existential authenticity to tourists. To this end, it is necessary to form a competitive and attractive authenticity from the perspective of tourism producers. As a representative example that fits the purpose of this study, the authors focused on the ‘Haenyeo’s Kitchen’, which is operated as a theater-style restaurant in Jeju. Through close cooperation between a young artist from the Haenyeo family and the local community, the ‘Haenyeo’s Kitchen’ formed a more attractive and rare authenticity than the existing case of turning Jeju Haenyeo culture into tourism resources. Tourists who visited the ‘Haenyeo’s Kitchen’ were able to more strongly sympathize with the life of Jeju Haenyeo (Women Divers) and their culture. However, in the case of ‘Haenyeo’s Kitchen’, it was confirmed that there are limitations in terms of sustainability of Jeju Haenyeo (Women Divers) in the process of experiencing the strategically formed authenticity

Blind Game: An Interactive Installation About How We Can Exorcise Memories of a Visual Disability

In this paper, we recover an interactive artwork developed by one of the authors to provide possible ways of inserting the playful and artistic perspective into augmented human studies. In this way, a perspective based on play and interactive digital fiction can inspire us to look at other ways of using digital technologies that focus on improving human capabilities. The interactive installation Blind Game brings us a personal, visual, and playful perspective of a person who, at the age of three years, was diagnosed with amblyopia, revealing the subjective world of the character P.. Created in 2001, this installation was an interactive conceptual artwork developed by a young artist who wanted to exorcise the memories of her diagnosis of amblyopia and the tensions caused by the political instability in her home country. Through interaction and playful strategies, the artist sought to abstract herself from the reality around her, reorganizing her subjective relationship with visual impairment and the political tensions of a transition period between a dictatorial government and a democratic one.

El exilio de Eugenio Fernández Granell en Puerto Rico en la década de los cincuenta. Diálogos sobre el arte y el surrealismo

This essay provides a new account of the surrealist writer and artist Eugenio Fernández Granell’s contribution to the education of a Puerto Rican generation and its impact on the island’s cultural and political landscape. It delves into the art scene in Puerto Rico during the 1950s, the conditions and concepts that prompted a group of young artists to collaborate intellectually—some of whom formed the collective El Mirador Azul—and the responses elicited within the larger cultural and political context. It contributes to the understanding of debates about avant-garde visual art expression in Puerto Rico during an age of transition, and about its cultural wealth and strength. The relationships and events described highlight the emergence of diverse social networks across hemispheres, fostering pivotal discussions that continue to influence the present and future.

Detecting the veracity of children's experiences through drawings.

Research is lacking regarding adults' ability to determine whether children's drawings are based on an experience or not. Drawings are useful in professional settings to alleviate linguistic demands, facilitate memory, and have been used as evidence. Determining the accuracy of veracity assessments of children's drawings would inform professionals regarding their use as evidence of experiences. Twenty-eight children (14 younger, Mage = 7.53 years, SDage = 1.19; 14 older, Mage = 11.67 years, SD = 1.27) produced drawings of two events: one staged experienced, and one narrative-based not experienced event. Fifty (Study 1, Mage = 23.72 years, SDage = 9.70) and 63 (Study 2, Mage = 25.92, SDage = 12.79) adults indicated whether each drawing was based on experience and their confidence in each assessment. In Study 2, additional drawing quality assessments were collected. Results indicated that adults were more accurate at distinguishing experienced than not experienced drawings for older artists. An inverse relationship was observed between confidence and accuracy-participants were more confident when they were inaccurate, especially for younger artists. Drawing quality improved with age and for drawings of experienced events. Adults tended to rate drawings of higher quality as resulting from experience leading to the highest accuracy for drawings from older artists that were based on experience. Overall, results suggest that there may be some features of drawings that allow for above chance levels of accuracy (up to 75%). However, rates are not high enough across assessments (M = 53.93%, range: 39%-75%) to reliably use them as indicators of experience.

Unraveling Aesthetics Tapestry: Mapping the Artistic Styles of Young Contemporary Artist in Bandung

Unraveling Aesthetics Tapestry: Mapping the Artistic Styles of Young Contemporary Artist in Bandung

Socioeconomic Dimensions of Artistic and Culture Labor: Insights from the Spanish Context

This study examines the socioeconomic status of professionals in the artist’s labor market by comparing two different data sources that reveal the persistent coexistence of two generally segregated economic sectors: the formal and the informal. The methodology adopts a dual approach, combining cumulative distribution functions and statistical inference via a logistic ordinal model. Key findings indicate that younger artists are less likely to have high earnings, while earnings tend to increase with age, and women are more likely to have lower earnings than men. There are also notable differences between the two data sources in the impact of education on earnings, although education contributes to higher earnings in both samples. These findings provide a foundation for discussing the potential impact of existing measures and those yet to be implemented in the context of the Statute of the Artist in Spain, which is committed to the specific reform plan for the culture and arts sector to promote equity, sustainability, and inclusion within this sector.

Misapprehensions of a Caustic Eye: A. D. Hope and the Failure of Angry Penguins as a Modernist Literary Movement

ABSTRACT This article reconsiders A. D. Hope’s cutting appraisal of the group of young poets and artists from the University of Adelaide who have come to be known colloquially as “the Angry Penguins”. Setting aside the influence of the Ern Malley affair on the Penguins’ perceived importance, the article proposes that Hope has contributed fundamental misrepresentations about the identities of the Penguins cohort and their aspirations for Australian literary identity. Contrary to Hope’s opinion, the Angry Penguins—at least in the initial phase of their development—were not purveyors of an impenetrable brand of Australian surrealism, but were, rather, a group of diverse young poets advocating for the internationalisation of Australian cultural identity.

Hunger and Resilience: Collective Agricultural and Artistic Practices in an Area Impacted by Environmental Disaster

This paper delves into the generative artistic practice of the “Half Farming, Half Art” project in Toride, Japan. The project focuses on a response to the societal, economic, and environmental challenges faced by young artists, particularly those exacerbated by the Fukushima disaster of 2011. This paper examines the project’s evolution by addressing various forms of hunger, including physical, psychological, and Earth hunger resulting from soil contamination. The project’s innovative methods and community engagement initiatives made it a platform for resistance and resilience, fostering care for the environment while sustaining the collective lives of the participating artists. In its investigation of the convergence of gardening, farming, and artistic creation as responses to environmental disasters, this essay also casts light on Butō dancer Min Tanaka’s exploration of the relationship between agriculture and art. Drawing parallels with Min Tanaka’s agricultural practice and the practice of Body Weather, the “Half Farming, Half Art” project demonstrates the transformative potential of collective action in confronting adversity and reimagining relationships between humans and the natural world. This study illuminates how the various experiences of hunger became part of the legacy and the changing dynamic of the “Half Farming, Half Art” project.

Exploring Creativity in Marginalized Voices: The New Ecuadorian Dramaturgy Project

ABSTRACTThis article presents the artistic process employed by a group of young women in an academic setting at the Central University of Ecuador, as they wrote four documentary plays. These students, belonging to the first generation to have access to a dramaturgy class in a public university in the country, utilized an innovative to develop their proposal. Despite the prevalence of collective playwriting in the region, the students delved deep into the writing process for the stage and studied important references in the field. The resulting plays underwent analysis by proficient readers from the Univèrsitat Politècnica de Valencia, who acknowledged their profound artistic content, unexplored until then within the country. Within this study, a focal point is placed on exploring the concept of creativity among university scholars who belong to marginalized groups. The research highlights the inherent duality present in their cosmovision, aiming to showcase their distinctive perspective and the continuous redefinition of identity and creativity within non‐harmonic societies. By doing so, the article underlines the significance of providing opportunities for young artists from marginalized communities to express themselves and contribute to the artistic landscape of their country. Also, it outlines a constant interrogation over the concept of creativity.

Trinitarian Theology, Neapolitan Painting: Paolo De Matteis and Francesco Solimena

Abstract In early eighteenth-century Naples, Paolo De Matteis created a series of frescoes featuring the Trinity in imitation of a mural at the Escorial by his former teacher, Luca Giordano. By showing the Trinity with its patrilinear procession from the Father to the Son, the younger artist could claim an artistic lineage in competition with Francesco Solimena. De Matteis’s and Solimena’s Trinitarian murals reveal theological disagreements between religious orders in Naples. An unknown drawing in the Seattle Art Museum can be associated with De Matteis’s group of works.

Reliability of Hip Strength Assessment in Young Active People with Hip Dysplasia: An Examination in Student Circus Artists.

Developmental dysplasia of the hip (DDH) is common in performing artists and other young active individuals and involves abnormalities in bony morphology of the acetabulum and proximal femur that can negatively impact walking biomechanics, muscular strength, quality of life, and sleep. Rehabilitation for hip-related conditions should target known modifiable impairments such as hip muscle strength, though a reliable method of assessment in this population remains unclear. To determine the inter- and intra-rater reliability of hip muscle strength assessments using handheld dynamometry (HHD) in young active circus artists with DDH. Reliability of hip strength in all planes was assessed using HHD in 21 adult performing circus arts students (mean age 21.3 yrs [3.2]; 13 M, 5 F, 3 NB) with symptomatic radiologically and clinically diagnosed hip dysplasia. The reliability of average peak force and absolute peak force were expressed for each position tested. Reliability was assessed using intraclass correlation coefficients (ICC) with standard error of measurement (SEM) and minimal detectable change (MDC) values calculated to improve clinical interpretability. Good to excellent inter-rater reliability resulted for all hip muscle strength testing positions, ICC=0.88 (95%CI 0.70 to 0.95) to ICC=0.97 (0.92 to 0.99), except average peak hip flexion strength, ICC=0.71 (0.28 to 0.88). Absolute peak hip abduction, ICC=0.77 (0.16 to 0.94), and adduction strength, ICC=0.72 (-0.55 to 0.92), demonstrated the lowest intra-rater reliability. Transverse plane strength measures (rotation) produced the lowest SEM and MDC values followed by the frontal plane (abduction/adduction) and sagittal plane (flexion/extension). HHD is an appropriate and reliable method to assess hip muscle strength in circus artists with DDH.

Выставка Михаила Врубеля как предмет искусствоведческой рефлексии

In this article, written after visiting the exhibition of works by M.A. Vrubel at the State Tretyakov Gallery in Moscow in the winter of 2021–2022, the author shares some of his impressions of the event. Vrubel appears as an innovator who predicted and anticipated in his work many phenomena in the art of the coming 20th century. The author examines the influence of Vrubel’s creative work on the artists of the Russian avant‐garde and the perception of his works by the masters of new trends in art. The purpose of the study is to analyse various connections between the young Russian artists of the 1900s‐1910s and the art and searches of Vrubel. The novelty of the work lies in the fact that this topic has not been fully studied to date. The significant exposition of Vrubel’s works at the Tretyakov Gallery provided a lot of new material for studying the influence of the artist’s work on the masters of the Russian art of the 20th century. In the article special emphasis is placed on the consideration of the last period of the master’s work associated with his illness. From the point of view of a modern researcher this period is a significant and completely independent phenomenon that completed his work of the 19th century and opened up new opportunities for the art of the 20th century. Research material for this article is presented by the works of Vrubel shown at the exhibition in the Tretyakov Gallery in 2021–2022, the memoirs and testimonies of the artists of the early 20th century, and subsequent works of the art historians of the 20th century.

Research on the Exploitation of Artists in the K-pop Industry

The Korean pop music (K-Pop) industry has garnered fame in the recent years and has had a great economic impact on South Korea . It is best known for its music, performances and content creation but behind the glitz and glamour of the idol industry lies the dark truth if exploitation of its artists particularly minors. This paper examines the exploitation of artists, the trainee system, debut process, sexualization of minors and the impact of sasaeng fans. The unfair contracts, long working hours, the toxic beauty standards, limited rights over their craft which often leads to physical and mental health issues for these young artists’. The K-pop industry has been under scrutiny for its treatment and sexualization of minors. The intrusive and obsessive behaviors of the sasaeng fans further exacerbate the situation leading to concerns over the well-being of the artists. It also covers the government’s role and intervention in protection of minors and the protection of artists. However, more needs to be done to address these issues within the industry and strong measures need to be taken to ensure the well being of the artists and protection of minors within the industry.

Theorising with the mycelium in the commingled world of young children’s musical play

ABSTRACT Inspired by Sheldrake’s study of fungi [Sheldrake, M. 2020. Entangled Life: How Fungi Make Our Worlds, Change Our Minds, and Shape Our Futures. London: Penguin Random House] and Barad’s idea of entanglement [Barad, K. 2007. Meeting the Universe Halfway: Quantum Physics and the Entanglement of Matter and Meaning. Durham: Duke University Press], this paper explores music play with young children and artists, a practice that resists adult-centric approaches. As an embedded researcher within an early years arts organisation, I play with a diffractive methodology to read through ideas of Froebel with posthuman writings. Using slow-motion viewing of a video extract of musical play the vibrant agency of materials and sound emerges in micro-moments of playful music-making. Theorising with the mycelium produces ideas of extravagance, music and sound understood as lively intra-active and wild. It communicates through, and within, living and non-living matter. This view of music asks for artists to ‘do’ and say less, watch more and hold the space for the bursting forth of ripe and ready musical expressions. Through this pedagogical approach, children and adults can experience a sense of becoming with music, with the world.