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The article discusses the art of paper tearing by Hong Kong-based paper-tearing artist Sing Man Lee in his aim to create a bridge between contemporary life and traditional Chinese cultures. Other topics include how Lee made his first paper-tearing artwork, how the art can improve a person's confidence, and an exploration of Lee's artwork through the National Visual Arts Standards.

Fung Ming Chip (馮明秋, b. 1951) is a contemporary artist based in Hong Kong who practices shufa (書法, lit. "the way of writing"). Traditionally, shufa is the art of writing Chinese characters with a brush on paper or silk; it is deeply connected to the arts of poetry and painting. However, the theories of making and viewing that undergird traditional shufa, as well as the stakes of its contemporary practice, remain largely unknown to Western audiences. This essay is a response to Fung's latest solo exhibition, entitled NumberS Series. It considers how Fung Ming Chip's latest works have moved beyond traditional shufa practice and language itself to examine the relationship between art and time. Unlike previous critical works that contextualize Fung's art with respect to Euro–North American art and art history, this article uses Fung's writings and early Chinese theories of aesthetics and ontology to establish that his art works in a distinctly non-Western manner that has its own relevance and perspective for a contemporary, global audience. [ABSTRACT FROM AUTHOR]

Expatriate artist Frances Mary Hodgkins (1869-1947) has been the focus of numerous art historical studies; however, very little is known about her painting practices. Trained as a watercolour artist, Hodgkins took up the use of other paint media in later life. She is most renowned for her work in oil and gouache, but in both cases the paint is applied very thickly, which has caused structural problems, particularly cracking and flaking. A technical study which included the examination of Hodgkins' papers and the analysis of paint was initiated in 2002, focusing on selected watercolours and gouaches from the Auckland Art Gallery Toi o Tamaki collection. It was intended to clarify many of the questions about her use of materials and her technique, which would be of benefit to conservators and curators. This paper presents the findings of the study and discusses aspects of Hodgkins' paint application and the implications for the conservation of her works. [ABSTRACT FROM AUTHOR]

Native arsenic, skutterudite, and fluorite from Frisch Glück Stollen, Strecke 7, Frohnau, Erzgebirge, Saxony, Germany. I Note: i All sizes mentioned within the art image refer to the specimen's size, and the year given refers to when the specimen was found. Early paintings focused primarily on fluorite, especially those from the Erzgebirge (Ore Mountains), but today any mineral species can be her subject. [Extracted from the article]

The article discusses the author's view on participation in terms of synchronization. It explores in what occurs when the ways of undergoing, experiencing and acting takes place in a real or virtual proximity to that of others. It attempts to discover the observers and the value of audiences. It examines a proximity where conflicts become functional or unfold in the process of participation, without ever disappearing.

Focuses on the Association of Art Historians' Artists Papers Register project, which aims to compile a computerized location register of papers and primary sources relating to artists and designers in Britain. Geographical areas into which thee project has been divided; Contact information; Model for the creation of a central information source devoted to artists' archives.

"Ruptured Envelopes, Double Shells" explores the presence and meaning of skin in art of the early twenty-first-century. Millennial art has engaged skin through an intriguing selection of media, from animal hides to latex and silicon. The installations discussed in this paper experiment with biological and artificial skins, transformed into fetishized shells and brought to bear on contemporary sociocultural anxieties. The paper draws on Didier Anzieu's Skin-Ego theory as a useful analytical framework, allowing discussion of both psychological and sociocultural aspects of skin. Works by Ana Álvarez-Errecalde, Nandipha Mntambo, Jessica Harrison, Wu Tien-chang, Michel Platnic, Pamela Rosenkranz, and Penny Siopis are discussed under the categories of "double shells," "skin fetishes," and "de-structured skins." Analysis proceeds along two critical paths. Thus, a historically-specific political perspective is coupled with a phenomenological reflection on skin's appeal to the haptic sensibility of our bodily borders. Investigating the turbulence of global mobility through the trope of skin, the paper reflects on subjects' sense of "skinlessness" in an age when Otherness is ubiquitous, whether it is political, geographic, ethnic, or racially specific. At the same time, the growing phenomenological discourse on embodied aesthetics invites reflection upon sensory aspects of skin-based art, in relation to the lived experience of bodily envelopes. Assuming a synergy between these complementary critical paths, the paper offers close analysis of seven artists' skin-related installations and videos, with particular attention to how skin comes to matter in an age of global turbulence. [ABSTRACT FROM AUTHOR]

This article discusses the experiences of six artists participating in a new Australian creative accelerator programme for emerging media documentary. Attending to the processes, perspectives and frames employed by these artists in developing their early-stage projects, the article explores the diverse practice-based methods employed in developing documentary for emerging media formats. The paper argues for the value of attending to process and practice, as key frameworks that set the context for eventual creative outcomes. In doing so, the paper aims to contribute to knowledge about methods to support artists in developing emerging media documentary in a creative accelerator context. [ABSTRACT FROM AUTHOR]

Based on data from qualitative interviews and participant observation with those involved in artistic production in New Orleans, this paper considers the effect of crises such as the COVID-19 pandemic on cities and artists. It investigates the supports available to artists before and during the pandemic and the relationship between cultural workers and tourism in New Orleans. This relationship creates a paradox: New Orleans is unique because it is the site of enduring local cultural traditions and emerging creative production, and yet the city must sell its culture to tourists to remain economically solvent. Left to fend for themselves by larger institutions, arts communities and nonprofit organizations came together to mutually support each other. The paper concludes that what we can learn from this case is how people 'make do' and survive during an extended period of crisis – especially when the lessons of survival have been taught and tested through preceding crises. [ABSTRACT FROM AUTHOR]

Yu's given name is actually Zhuowei Yu, but most people in the mineral community know her as Safaa Yu. This article presents the colored-pencil artwork of Safaa Yu of Littleton, Colorado. So finally 2020 comes, and for a while I had some time to challenge myself a little by using colored pencils (Prismacolor brand).... As I [progress in my art], I really like to work with them and hopefully will explore more with colored pencils in the future. [Extracted from the article]

Photograph by Jeff Sabo of the original art, courtesy Miami University. Photograph by Jeff Sabo of the original art, courtesy Miami University. Jerry Morris is a retired Miami University professor who, in his thirty-four-year career in the art department there, trained K-12 art teachers. [Extracted from the article]

The article presents a list of books on art. The books include "Giorgio Morandi: The Art of Silence," by Janet Abramowicz, "Building the Bank of England: Money, Architecture, Society 1694-1942," by Daniel M. Abramson, and "Real Photo Postcards: Unbelievable. Images from the Collection of Harvey Tulcensky," by Todd Alden and edited by Laetitia Wolff.

Graphite on rag paper, 9.375 × 13 in. To see more of Tom Wudl's art, contact studio@wudl.net and lalouver.com FURTHER READING 1 Wudl, T. (2020). Pencil, acrylic paint, oil paint, aluminum leaf, and pure silver on vellum paper, 12 × 12.5 in. On the back cover: Tom Wudl, Boundless Oceans of Concentrations, 2009. The art of Tom Wudl reflects this commitment toward the sacred, resulting in jewel-like formations that float against delicate backgrounds on rice paper, reminiscent of an eternal landscape. [Extracted from the article]

This paper reports on a study that explores how artists might best support very young children's engagement in integrated arts performances. It aims to contribute to a better understanding of the ways in which artists work with very young children in performing arts spaces. The study was designed to intimately examine a work with and for a very young audience. Through a combination of reflective narrative and analytic discussion, this paper will demonstrate how a collective of teaching artists supported very young children's engagement by positioning them as co-constructors of artistic experience. [ABSTRACT FROM AUTHOR]

Lead white (basic lead carbonate), before its effective ban in much of Europe from 1989 onwards, was among the most versatile and widespread but also one of the most harmful pigments available. This paper is a critical discussion of the regulation of lead white paint and its consequences from the point of view of conservation and artistic practice in Europe. It looks at who benefited from exemptions to bans, and whether there was resistance to them. Buildings and artworks are both taken into account. The paper discusses nuances in regulation in four European countries which have notable differences in approach (France, Austria, Germany, and the United Kingdom). The centralised regulatory framework of the United Kingdom allows data analysis on the authorised use of the paint since its restriction up to the present day. This dataset shows a steady decrease in the use of the paint by conservators across disciplines. The paper concludes by considering the professional and ethical implications of lead white paint for artists and conservators, in the context of varied regulation and a decline in use. [ABSTRACT FROM AUTHOR]

Memories can be fractured, incomplete, or unreliable, but materiality—especially for artist Suchitra Mattai—often embodies stability. As Joanna Sofaer notes, "Materiality conveys meaning. It provides the means by which social relations are visualized, for it is through materiality that we articulate meaning and thus it is the frame through which people communicate identities."1 Mattai's use of specific materials denotes certain relationships, concepts, and questions, even while drawing from imprecise personal memories. She investigates her own family's history—one that started decades prior as Indian indentured laborers in the British colony Guiana (now Guyana)—through these materials: personal tokens such as her mother's and her aunt's saris reference women of the South Asian diaspora, long decentered, but whose voices are here amplified; found needlepoint reclaims its status, eschewing the hierarchies imposed by colonial narratives dividing fine art from "women's craft;" patterned paper and fabrics in the Tommy Bahama vein reference the ongoing exotification of the Caribbean by western consumerist culture; and sugar, the seemingly benign substance responsible for numerous acts of colonization, human enslavement, and the depletion of environmental resources, reminds the viewer of the ongoing ramifications of imperialism. This essay examines some of these materials—from "raw" to readymade objects and fabrics—as they intersect with memory in Mattai's work, allowing us to, in Mattai's words, "unravel and re-imagine historical narratives." [ABSTRACT FROM AUTHOR]

My contribution intends to map the cultures and practices related to crypto-finance use in two distinct sectors: the 'mainstream' space of retail investors and the avantgarde space of artists/activists. This paper explores the realm of crypto-finance by using the lens of cultural and social analysis, deploying a frame derived from the theory of public sphere. By doing this I analyse the cultural production of the publics which coalesced around crypto, evaluating the change of visibility implied in these new public discussions of finance. The aim of this paper is to highlight potential bridges for cultural policy in two fields that have both partially departed from an institutional framework but that ultimately ended up being significantly embedded in mainstream cultural and social processes. In the case of ordinary crypto-investors, I will reflect on how platformed cultural production is responsible for the creation alternative financial literacy. In the case of artists, I will explore how blockchain-based innovation nurtured a new space for the imagination of finance and welfare. I will conclude by discussing these developments and drawing implications crypto-finance has for the discussion on the role of financial investment and digital technologies in our societies. [ABSTRACT FROM AUTHOR]

Practices, positioned through a sociomaterial lens make visible everyday work, often challenging our understanding of practices in consequence. Artists, and the world of contemporary art offer interesting contexts to explore practices through a sociomaterial lens and render visible everyday work important in the accomplishment of art. As such, this paper presents a distinctive sociomaterial exploration of practices that reconfigures our understanding of professional practices and their pedagogies in art. Drawing on theoretical resources of practice and materiality, I present findings from an art-based ethnographic study of conceptual artists that combined art and practice-oriented perspectives to look beyond discipline-based processes of artmaking to practices as they happen. I present these findings first, and innovatively, as a series of photo-collages and then, using words, as mundane practices of looking, studio-making and pause, around which other practices coalesce including peer-support, self-promotion, pedagogy and movement-driven. The photo-collages, visually and literally, reposition artistic practices as those necessary in the accomplishment of everyday work, preserving a relationality sometimes lost in written accounts of sociomaterial practices. The paper thus presents novel and necessary insights into the professional development of artists; methodological insights for relational studies of practices; and questions for professional education broadly. [ABSTRACT FROM AUTHOR]

Kramer holding a gem and mineral art poster (with entanglement elements); other poster products on table and hanging at the right. Kramer employs many media when creating, but her mineral-related art is dominantly composed using a mix of watercolor and colored pencil. Kramer augmented her artistic skills with private watercolor lessons during her high school years but has had no formal art training since then, choosing instead to develop via books, an occasional class, and other artists and teachers. [Extracted from the article]

In exploring the relationship between the artist and ethics this extended paper compares the role of the two protagonists, Lotte and Goethe, in Mann's novel, with particular reference to the concepts of 'Wiederholung' and recreation. The statement 'Aber aus Küssen werden keine Kinder' serves as a leitmotiv, treating Lotte's 'Menschlichkeit' with specific reference to her 'Weiblichkeit' in comparison to Goethe's artistic 'Lebenserneuerung aus dem Geist'. Mann's work on this novel will be discussed within the framework of German fascism, experienced mainly during his exile in America. A shorter form of this paper was given at the annual conference of the Association of German Studies in Nottingham (5th to 7th September 2022). [ABSTRACT FROM AUTHOR]

Since the beginning of the COVID-19 pandemic, the global cultural and creative sector has experienced major transformations in the way performances are conceived of, produced, packaged, and sustained. The involuntary shift to the online (and now hybrid) models and platforms of showcasing have compelled artists not just to rethink performance itself but also to address larger global and local socio-political and economic issues. This paper aims to look at two short case studies – dance and theatre – to underscore the transformations in "performance economy" in the pandemic. It considers the adaptability of these forms to newer idioms/platforms, and the creative labour involved in their sustenance through ongoing challenges. The study focusses on interviews of performers, and self-reflexive experiences of pedagogic training as a dancer through online apps. In doing so, the paper asks how cultural resistance, social citizenship and inclusivity in performing arts address questions of labour, inequality, and creative justice. [ABSTRACT FROM AUTHOR]

The creativity of religious art and practice is largely ignored in discussions of urban creativity. In this paper the importance of religious creativity in the making of suburban space is explored through a focus on the role of artists in two Christian churches in West London. Drawing on an analysis of two female stained glass artists, working in different time periods and religious contexts, this paper suggests the significance of churches as sites of creative innovation in suburban landscapes. The paper traces the negotiations and collaborations of the artists in relation to gendered expectations and institutional hierarchies and also considers the role of stained glass as a distinctive artistic medium in the creation of spiritually significant worship space for suburban congregations. [ABSTRACT FROM AUTHOR]

This paper examines recent transformations in music industries associated with platformization by privileging the perspectives, experiences, and voices of artists. We draw on in-depth interviews with 41 musicians based in two Latin American countries: Costa Rica and Mexico. We analyze how artists perceive the "power" and limitations of playlists, how they think playlists are transforming music industries, and how they associate various forms of pressure with this process. We then show that artists' perceptions about these issues are not uniform but rather variable by discussing three logics that shape the meaning they attribute to Spotify and playlists: dominant, oppositional, and negotiated. Finally, the paper explains the factors that account for why musicians in these countries espouse these logics in different ways. The conclusion argues for considering platformization as more than a purely technological process that needs to be situated within the wider national histories and cultural configurations of the music industries. [ABSTRACT FROM AUTHOR]

The article focuses on the proposal by David Octavius Hill, a landscape and genre painter, to apply the calotype process in photography for his works in painting. Hill's enthusiasm for photography was based on his perception of the truth and liveliness of the process. The activity was a highly satisfactory art form for him as he developed his interest in photography. Furthermore, the excellence of his calotype in his future years presented an extraordinary new challenges to the world as much as it set a standard for the smaller world of photography.

The work of artists, creatives and the cultural community that provides arts, culture and artistic education to society deserves due credit. It is not always easy to find the appropriate mechanisms to appraise and communicate in what ways this work impacts and benefits different target groups, different communities and society as whole. There is an urgent need for reliable evaluation of qualitative achievements of cultural and creative endeavours. We argue that, after years of focusing on the quantities of (economic) life, the time has arrived for considering the qualities of life. The new creative economy, based on sustainable development, calls for a different way of thinking: the Value-Based Approach (VBA). This paper will address the theoretical and methodological aspects of the VBA and suggests why it is a useful method for evaluating (social and cultural) impact of cultural production. This paper will draw on some empirical examples of the application of the VBA to the cultural sector. [ABSTRACT FROM AUTHOR]

As the arts are integral to shaping our culture, rigorous education that will prepare art students to create compelling artworks is necessary. Employing a tool such as Bloom's Taxonomy aids instructors in creating assignments that fulfill high-order concerns in the art-writing classroom. Because writing is one way for would-be artists to shape ideas and create complex thoughts, the art-writing classroom, as a precursor to the art world, challenges students to perform at high cognitive levels. Pedagogy employed in art-writing classrooms across the curriculum allows for criticality that results in sophisticated reasoning. [ABSTRACT FROM AUTHOR]

The enormous diversity between the Chinese and Western cultures led to two different visual principles. Western visuality followed the perspective based on the retina, while the Chinese painters used the "far and near method" (yuanjin fa 遠近法). Before the twentieth century, the representation and dissemination of Chinese gardens at the visual level were dominated by traditional landscape painting. However, the Chinese gardens' visual representation gradually shifted from traditional landscape painting to Western cartographic techniques (site survey and photography) after the Opium War (1840–1860). When studying the history of Chinese gardens, images provide a symbolic reference for interpreting the past of these gardens as crucial visual evidence. This article uses the visual evidence of classical Chinese gardens as a medium to reveal the influence and role of Western-centric theories on Chinese culture. Fundamentally, this paper attempts to analyse the impact of these changes on the inheritance of cultural memory from an intercultural and interdisciplinary perspective. [ABSTRACT FROM AUTHOR]

This paper will first describe some of the unique features of blockchain technology and 'smart contracts' used in NFTs. Next, we discuss four ways in which the economic and social potential of NFTs can be derailed, leading to 'digital enclosures' whereby large institutional copyright holders reap most of these benefits for themselves through illegitimate – and sometimes unlawful – rent-seeking, as well as the very real potential for fraudulent activities by malicious actors. Finally, we offer some initial suggestions on how to regulate NFTs and blockchain technology to prevent these illegitimate forms of rent-seeking and the 'digital enclosures' to which they give rise. Future governance in this area should be directed toward protecting individual artists, content creators, and small businesses over large institutional copyright holders, as do many current laws and regulations. [ABSTRACT FROM AUTHOR]

This paper reports findings from interviews with key Australian stakeholders involved in Australian films with gender- and sexually-diverse (LGBTQ+) characters, themes and narratives. The paper found that directors, creative producers, screenwriters and actors involved stakeholders of Australian LGBTQ+ film expressed a desire to impact their audiences in ways that emphasise the value of entertainment texts for minority representation, pedagogy and social change beyond pure storytelling. This paper presents an account of three key frameworks through which film stakeholders expressed their understanding of – and motivation towards – impact beyond storytelling: (i) as filling a gap in LGBTQ+ representation in contrast to what was otherwise perceived as relative invisibility; (ii) their perception as stakeholders dealing with LGBTQ+ content as having a special role as 'educators' for the benefit of vulnerable youth; and (iii) an understanding of their texts as contributing to social change in Australia, including wider acceptance of LGBTQ+ persons, family members and communities. A significant finding from this study is that screen media films about LGBTQ+ topics continue to be perceived as playing a role connected with but exceeding entertainment. [ABSTRACT FROM AUTHOR]

This paper presents a critical discussion of the relationship between place and creative production. Drawing on interviews with creative workers and ethnography conducted in two governmental places, Hong Kong's Jockey Club Creative Arts Centre and Taipei's Treasure Hill Village, the paper demonstrates how individual creative work are linked to three particularities of place: physical elements, live-work arrangements and government's approach to the place. Interdisciplinary analyses have identified working practice as a critical factor in developing creative industries, but little attention has been paid to individual creative work processes at local level. The paper argues that place with live-work provisions facilitates creative production by fostering social exchange useful to artists, while orientation and milieu of place shaped by government impacts on the manifestation of creativity. The empirical findings have implications for the development of creative industries by showing how place can be central to creative production in specific ways. [ABSTRACT FROM AUTHOR]

In this paper, we ask how the corona pandemic affected a cohort of former art school students. We have compared our findings with other studies of the consequences of the pandemic for Nordic artists. Most of our informants appeared less negatively affected by the pandemic than predicted by previous studies. None of those who responded said that they had left or considered leaving their professions, and none had experienced a disastrous loss of income because of the pandemic. Nevertheless, the pandemic affected the work and income situation of freelance actors and musicians who normally perform for live audiences. All the informants also responded that their workdays had changed substantially, and that the pandemic had negatively affected their well-being. Our qualitative study might contribute in detecting some nuances that were less easily detectable through quantitative surveys, e.g. that the pandemic did not substantially affect freelance actors in film and media. [ABSTRACT FROM AUTHOR]

Several interviews including the codirector of Peace Paper Project Margaret Mahan and teaching artists Drew Mattot and Faith Purvey are presented. When asked about the contents of teaching, Mahan and Mattot refer to Book Arts, hand papermaking and printmaking. Purvey refers to art installation and team building in public spaces.

This special issue of CoDesign is introduced with a brief discussion of creative collaborations between artists and their audiences. In particular, the concept of Beta_Space, an experimental exhibiting facility in which artists can experiment with their evolving interactive works, is introduced. A short historical diversion places that development in its historical context in terms of the author's work in that area in the UK and Australia. The papers in the issue are briefly discussed. [ABSTRACT FROM AUTHOR]

Reproduced with permission Tama Higuchi has a mastery of watercolors and a love of minerals, both very evident in her paintings. Now, watercolor is all I use when creating my mineral art." Higuchi is also skilled at digital art and has been doing it for some time. Furthermore, painting minerals has only deepened my love for collecting because it has allowed me to combine two of my favorite hobbies, minerals and painting, into one. [Extracted from the article]

Copyright of Canadian Journal of Art Therapy is the property of Routledge and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The ability of independent art spaces to create new practices in the arts is recognised, alongside with their influence on the socio-economic development of places in which they appear. Yet, art spaces remain poorly understood, as present studies look only at individual examples of these places. In this paper, using text mining methods, 1537 descriptions of independent art spaces, located worldwide, are investigated to provide insights into what is an independent art space, by defining its common features. The study finds that independent art spaces are described as non-profit, artist-run places, striving to bring together local and international cultures and engage artists in cooperation. Besides, independent art spaces offer both public platforms and workplaces for artists, promoting creativity and experimental art. The identified features can contribute to the debate over the connection between art spaces and socio-economic development. [ABSTRACT FROM AUTHOR]

This paper discusses Korean artist Nam Hwayeon's corpus of works based on her artistic research into Choi Seung-hee's choreography since 2012, focusing on her four-channel video installation Dancer from the Peninsula (2019) and a collection of archival, essayistic, and documentation videos included in her solo exhibition Mind Stream (2020). In so doing, it argues that Nam's approach to Choi's idea and practice of choreography since her return in 1941 after performances in Europe and North America labels them as "inter-Asian Dance," an unfinished project aimed to reinvent East Asian dance through the multilayered negotiation and amalgamation of its different regional (Chinese, Japanese, and Korean) traditions. Nam's intermedial exploration into the heterogeneous body of Choi's writings, dance films, and documentation photos, then, is her method of revealing and reactivating the geopolitical and epistemological, and aesthetic contradictions of Choi's method. [ABSTRACT FROM AUTHOR]

'I am Tower of Hamlets, as I am in Tower of Hamlets, just like a lot of other people are' (2011-2012) was an artwork by Argentinian artist Amalia Pica, and involved a pink-granite sculpture touring around different homes in the London Borough of Tower Hamlets for one year. This paper offers a geographical investigation into the type of encounters and relations created by this artwork. Rather than assume the progressive role of such art encounters, the paper casts a critical eye on to the actual forms of association that they foster and the normative social logics they may perpetuate. In doing so, it suggests that while enchanted, 'meaningful' encounters did occur between participants and the sculpture, these occurred within a pre-existing art community, something which compounded problematic class boundaries. Thus, the paper utilises this artwork to identify how encounters can be meaningful whilst maintaining embedded social and cultural divisions. It concludes with a discussion on the relationship between art and the geographies of encounter. [ABSTRACT FROM AUTHOR]

This paper argues that intermediation is both a valuable form of occupational self-organization for professional artists and a political act of embedding with socio-spatial ramifications at different local, urban, and global scales. A case study of events organized in Berlin by the interdisciplinary cultural centre Zentrum für Kunst und Urbanistik demonstrates how artists strategically practice intermediation as modes of autopoietic and dissipative self-organization and as an interscalar survival strategy. These artist intermediaries add improvisational flexibility to the state’s understanding of Verstetigung (sustainable anchoring that fosters a reliable relationship between urban policymakers and cultural producers) and challenge neoliberal urban development logics that instrumentalize creativity. [ABSTRACT FROM AUTHOR]

Copyright of Journal of the American Institute for Conservation is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Spotify offers users powerful algorithmic recommendations and hybrid "algo-torial" curation at scale. In this paper we argue that juxtaposed within this data-driven platform, is the power of human stories and networking. We investigate the experiences of 10 Australian musicians through semi-structured interviews, asking how they navigate the Spotify for Artists interface. By attending to the experiences of the artists themselves, and their use of the Spotify for Artists platform, we explore the human stories that flow within this socio-technical music streaming network, arguing that stories, like data, have an important role and value in this context. [ABSTRACT FROM AUTHOR]

Movement has always been central to physiotherapy practice and theory. But physiotherapists have largely focused on forms of human bodily movement governed by the neuro-mechanical body system in illness or injury. Many other forms of movement exist though, and we argue here that the exploration of these other movements might give physiotherapists new language, concepts, and tools, to guide its adaptation to forms of healthcare that are becoming increasingly complex, diverse, and inclusive. Drawing on Hannah Arendt's concept of vita activa (or "active life"), we examine how physiotherapists have traditionally captured and defined movement. Critiquing past practices for over-emphasizing what Arendt called labor, and work, we suggest that an approach governed by her concept of action, might offer physiotherapists a way to give movement greater significance. We explore what active life might mean for a revised approach to movement, and highlight examples of vita activa already emerging in physiotherapy. We close the paper by calling for a reevaluation of what movement means for the profession and its clients. [ABSTRACT FROM AUTHOR]

Art can assist in exposure to difference, which may in turn open up spaces for dialogue between differences. This capacity to encourage and intervene necessarily operates at various levels and spheres and, in the arts, requires creative leadership. Creative leaders are those artists, recognised by their peers and public as artists who generate new developments in creative content to explore diversity. It is predominantly artists of non-English speaking background ('NESB') who bear the burden to generate the opportunities as the main producers of content that interacts with multicultural Australia. I am cautious to place sole responsibility onto the minorised and underpaid multicultural artist to transform Australian society. However, their creative leadership roles show that their work and processes can produce new narratives towards intercultural dialogues. Many 'NESB' artists adopt this mantle by undertaking new creative production with the potential to transform the symbols within society. This paper explores the ways in which social and creative symbols are re-negotiated through the work of two Australian performance artists. Writer and director Shakthi Shakthidharan; and dancer and choreographer, Annalouise Paul exemplify how artists from diverse backgrounds increase the level of culturally diverse creative production. They make meaning through the contestations and negotiations of multicultural Australia. [ABSTRACT FROM AUTHOR]

This paper argues that, because young children’s response to the world is primarily sensory and aesthetic, early years curriculum should give due attention to the arts. There is an urgent need to better conceptualise ways of working with young children in relation to the arts. The paper is based on three key and permeating ideas: first, that human beings need the arts for holistic development; second, that there have been many attempts to integrate the arts with other areas of learning in the early years; and third, a more robust and clearly articulated conceptualisation of arts-based learning in the early years is needed. The paper critically reviews the international literature relating to these three key areas and concludes that: early childhood education must pay due regard to the innate human need for aesthetics in the design of curricula; on the whole, young children’s experience in the arts has not been nurtured in ways which support their artistically-attuned development; and arts-based learning in the early years are not clearly conceptualised. The paper reports an example of arts-based learning involving professional artists working with children and aged six months to five years in preschool settings in England an outcome of which was a conceptual framework for arts-based learning. The paper identifies the need to provide children with greaterrecognitionof their efforts in the arts and more adultmodelsor users and makers of art. It further concludes that where arts-based approaches to learning are derived from research, and refined through embedded practice, children are able to learn in ways which are naturally suited to their human condition and therefore better equipped to take part in cultural and artistic elements of life as identified in the United National Convention on the rights of the child. [ABSTRACT FROM AUTHOR]

Answering the call by Fillis, this paper aims to build an ‘arts-marketing orientation’ model by exploring the parallel relationship that exists between the Product Life Cycle (PLC) and the notion of the ‘career trajectory’ (as it applies to visual artists). In so doing, this paper provides a finer-grained understanding of the marketing orientation and activities of visual artists as they progress through their career. Qualitative analysis of the data (and the subsequent development of the Visual Artists’ Marketing Trajectory model) suggests that the marketing orientation and activities undertaken by visual artists deviates significantly from the assumptions underpinning traditional marketing theory. Unlike customer orientation (central to traditional marketing theories), this research suggests that in the arts-marketing context, the marketing orientation and activities of visual artists change according to the career trajectory stage in question. [ABSTRACT FROM PUBLISHER]

Graph Young watercolor artist Ksenia Levterova shows great competence and sensitivity in her paintings of mineral specimens. Introduced to minerals by her husband, an avid mineral collector, Levterova says, "Suddenly, the hidden magic garden of "rock flowers" opened up before me. [Extracted from the article]

In the first half of the twentieth century, members of the public in Britain were familiar with traditional Chinese painting, but not work produced by living artists from Republican China. Public museums did not become enthusiastic about acquiring twentieth-century Chinese pictorial art until the 1960s. Substantial gifts of modern Chinese painting and calligraphy presented by private collectors to the British Museum and the Ashmolean Museum of Art and Archaeology in the 1990s have contributed to the proliferation of associated exhibitions, illustrated catalogues and scholarly activities. This paper explores the visions and strategies of British museums in forming their collections of modern Chinese painting in the second half of the twentieth century. It focuses on the institutional histories, acquisition policies and the collections of Chinese pictorial art in the British Museum and the Ashmolean Museum of Art and Archaeology in order to examine the impetus for initiating new collecting strategies in the last quarter of the twentieth century. It also investigates the contribution of individual curators in enhancing the British understanding of modern Chinese painting through acquisitions, exhibitions and publications from the 1960s to the 1990s, which laid a strong foundation for developing vigorous programmes of contemporary collecting and display. [ABSTRACT FROM AUTHOR]

Since 2011, artists have been embedded within Calgary’s Utilities and Environmental Protection department as part of the public art program Watershed+. In particular, artists are given workspaces alongside municipal staff to encourage interaction and new ideas. Watershed+ has led to innovative examples of public art that are meant to provoke thought about the local environment. Through interviews with artists and municipal staff engaged in the project, this paper explores the specific avenues through which the initiative has embedded artists within municipal planning. The paper also considers the transferability of the Watershed+ model to other cities. [ABSTRACT FROM AUTHOR]

This paper focuses on the work of two photographers--Helen Levitt and Jansje Wissema--who extensively documented children playing in streets and produced images of the drawings made by children on city streets and walls. These images are read in relation to the work of the Burning Museum Collective, a group of artists based in Cape Town, South Africa, who draw on archival images and make use of photography as a form of resistance. The paper argues for the way in which an engagement with photographs of urban spaces can provide a means for thinking about transnational histories, neoliberalism, gentrification, forced removals, and the politics of restitution. [ABSTRACT FROM AUTHOR]