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Cover Cross Examination, Roger Knox, 2016, acrylic on watercolor paper, 22.5 × 29.5 inches. Courtesy of the artist. [ABSTRACT FROM AUTHOR]

Artificial intelligence (AI) expands the more‐than‐human perspective on creativity and creative geographies, as new techno‐material relations and spatialities are formed when humans and AI create together. In this paper, we suggest the concept of 'co‐creative spatiality' to refer to the special sites, relations and processes of human–AI collaboration in artistic creative practice. Our study builds on interviews with 26 Finland‐based artists who have used AI in their artistic work. In our analysis, we focus on the questions of what, how, where, who and with of creativity, through which we study the spatialities of creativity and their links to AI. We discuss, how the emerging techno‐materialities of AI affect co‐creative spatiality by stretching the boundaries of (human) imagination and sparking creativity across new imaginative terrains. Co‐creative spatiality reveals novel and unfamiliar collaborations that constitute our material worlds and, therefore, we believe it invites geographical analysis from all those interested in the transformations of creative and artistic practices in the age of AI. In this paper, we suggest the concept of 'co‐creative spatiality' to refer to the special sites, relations, and processes of human–AI collaboration in creative practice. Our study builds on interviews with 26 Finland‐based artists who have used AI in their artistic work. We discuss, how the emerging techno‐materialities of AI affect co‐creative spatiality by stretching the boundaries of (human) imagination and sparking creativity across new imaginative terrains. [ABSTRACT FROM AUTHOR]

Whilst the link between young people's well‐being and the creative arts is strengthening, there is a lack of research which focuses on the roles that artists play to help teachers and parents engage young people in the creative arts. This paper explores the benefits of and barriers to artists working in education in six European countries (England, Iceland, Germany, Greece, Italy and Austria). Using the '5A's model of creativity' and a view of professional development taking place within 'landscapes of practice', the data were analysed in order to explain how creativity is operationalised in the different contexts. Our study highlights the need for policy at a national and transnational level to value the creative arts in order to help teachers cross boundaries and utilise the full potential of the creative arts in schools. Our study also highlights that further research is needed into how artists shape teaching and curriculum and how schools engage parents in the creative arts in order to build an evidence‐base relating to young people's positive mental health that can affect policy at these levels. [ABSTRACT FROM AUTHOR]

Cover Laboratory Life (Cell), by Suzanne Anker, 2006, inkjet print on watercolor paper, 13 × 19 inches. Collection of Th e National Academy of Sciences, Washington, D.C. Courtesy of the artist. [ABSTRACT FROM AUTHOR]

Abstract: This paper is based upon the images and thinking of two central Australian men, Andrew Spencer Japaljarri and Rod Moss, both embedded in the arduous and localized circumstances of pragmatic intercultural recognition. Their paintings are philosophical meditations on the state of relations in this part of the country. The author emphasizes that authentic constitutional recognition depends upon authentic interpersonal relationships. This is hard to achieve and hard to sustain. [ABSTRACT FROM AUTHOR]

Increasing concern over environmental sustainability and socioecological well‐being has motivated people to consider ways to reconnect humans with the natural world through lifestyle changes that integrate well with natural systems. Educators who share environmental concerns have explored diverse aspects of ecological art practices to envision an extended and socially relevant role of art. Accordingly, the present study aims to bring educators' attention to a collective journey of artists who have immersed themselves in making an affective relationships with nature. Regarding the journey as an invaluable cultural resource that holds the potential to extend the horizon of how we may live with nature, it examines the collective journey of the artists in Yatoo, an artist association based in Gongju, a greenery city in the southwest region of South Korea. The guiding questions set for the contextual analysis are: 'how do Yatoo artists become native to their place?' and 'what can be learned from their collective journey?'. First, the collective journey of the artists is examined based on four major factors: regionality, positioning, methodology and networking. This is followed by discussions focusing on the value of the collective identity shaped by bioregionally conscious art practices and the pedagogical potentials arising from the collective journey. This paper suggests that the collective journey of Yatoo's life‐sustaining practice, operating in an era of environmental crisis, contributes to the recently developing alternative pedagogical discussions by opening up dialogues that navigate ways to encourage more sustainable practices for the future. [ABSTRACT FROM AUTHOR]

Copyright of Papers in Regional Science is the property of Wiley-Blackwell 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.)

Written from the direct experience of a practitioner, this is an autobiographic paper by a contemporary artist that recounts and explores creative and political activism through contemporary art. This article examines the tensions around status: the status of objects, materials and production methods, and the status of people and their drive to self-definition. The text addresses how a hierarchy of values can struggle to catch up with creative practice in education. [ABSTRACT FROM AUTHOR]

This paper assesses the relative impact of work for money or work for passion on Norwegian artists by examining artists' labor supply. Our contribution is twofold. The first is to test the work-preference model and the second is to investigate the impact of arts grants on artists' labor supply. The empirical specification draws two distinctions: between arts and non-arts income and between labor and non-labor income. Non-labor income is divided into three different sources: (1) spouse's income, (2) income from financial assets and social benefits, and (3) arts grants and subsidies. Our contribution adds to the literature by estimating the significance of these various income sources on the time allocated to arts work, non-arts work, and leisure. The results provide convincing evidence for the work-preference model, and ad hoc evidence shows that art grants have a significant positive effect on the supply of arts hours. This finding supports arts policy and shows the impact of art grants on artists' motivation to work on their arts. The causality of wages on supply is demonstrated by estimating the effects of wage shocks (grants) on arts labor supply using fixed-effect and difference-in-difference methods. [ABSTRACT FROM AUTHOR]

Debates in cultural geography around ideas of atmospheres have been considerably enriched in recent years by engagement with the literature on ambiances particularly associated with the Centre de recherche sur l'espace sonore et l'environnement urbain (CRESSON). Those working on both atmospheres and ambiances are concerned, among other things, with how places feel. In the ambiances literature, however, there is much greater emphasis on undertaking active interventions with the intention of re-engineering the feeling of urban spaces. This paper reflects on a collaborative intervention undertaken by a cultural geographer and a professional poet. Methodologically we report on a novel extension to the idea of the urban transect as it has been deployed by scholars at CRESSON. Rather than simply recording the feeling of urban places for later analysis, we develop the use of an arts-based intervention to actively manipulate urban ambiances in the field. We thus respond to Augoyard's notion that artists alter ambiances through their creative practice, but we do so in a more democratic manner, asking non-artists to engage with poetry as a means of remaking the immediate feeling of places. The analysis of this exercise presented here is comprised of both conventional academic and poetic writing. We conclude that the ambiances literature provides a powerful rationale for engaging in more activist collaborations between artists and scholars seeking to improve the feeling of places in partnership with residents. [ABSTRACT FROM AUTHOR]

This paper analyses the determinants of professional artists' unemployment. A sample of 1030 Australian artists was examined to determine the relationship between the probability of unemployment and artistic profession, education, origin and other demographic covariates. Special attention is focussed on factors influencing the probability of long-term unemployment. It is found that artists in Australia are a heterogeneous labour market group, as regards exposure to unemployment and long-term unemployment risk. The probability of unemployment episodes varies significantly depending on the artistic occupation: community cultural development workers, actors and directors are most likely to experience unemployment, while musicians and craftspeople are the least likely. Youth, disability, living in a capital city or in Tasmania, South Australia, Victoria or New South Wales, as well as level of tertiary education, can all increase the likelihood of unemployment episodes. On the other hand, participation in formal training in the artistic profession and living in a relationship or marriage are associated with a lower probability of unemployment. Being a writer or visual artist, living in the Northern Territory, and lower levels of education can increase the probability of experiencing long-term unemployment. Neither gender, nor origin nor age affects the risk of long-term unemployment of Australian artists. [ABSTRACT FROM AUTHOR]

Still life occupied a position in the Socialist Realist canon so marginal that it could barely be called Socialist Realism at all. Although some artists attempted, in the Stalin era, to prove the genre's credentials at least as a component of Socialist Realist visual culture, a number of its genre characteristics rendered it ill-suited and even antithetical to the mandatory tasks of 'depicting reality in its revolutionary development' and demonstrating the role of the party-state and its leaders in achieving the radiant future. The paper focuses on the work of Robert Fal'k (1886-1958), an artist multiply marginalized in the Soviet art establishment-both as a person and through his work in the lowly, liminal genre of still life-yet nevertheless central to the story of Soviet art. It examines, from different perspectives, the quiet challenge his work seemed to present both to the vainglory of Soviet power and the chiliasm of Socialist Realism. In his Potatoes (1955) the genre characteristics of still life which placed it in the basement of Soviet public culture are so hypertrophied as to become a kind of unspoken worm's eye critique of Socialist Realism and the faith in state-led progress that it represented. It argues that, in the context of destalinization, when the modernist assertion of autonomy of art and artist presented a perceived challenge to party control over the arts, Fal'k's work alluded to the absence of the state and its powerlessness when faced with the ultimate projects of existence and of painting. Turning the tables on the Soviet state authorities that had marginalized it, his still life marginalized the state as irrelevant to art and life. [ABSTRACT FROM AUTHOR]

Inspired by ecological calendars, the Herbert F. Johnson Museum of Art organized the exhibition Art and Environmental Struggle to coincide with the international conference Rhythms of the Land: Indigenous Knowledge, Science, and Thriving Together in a Changing Climate, held at Cornell University in October 2021. The exhibition emphasized Indigenous ways of knowing and deployed the works of lesser‐known artists from around the world to build greater understanding of and empathy for their communities' often overlooked histories and perspectives. A collaboration of three Johnson Museum curators and an expert on global Indigenous art, the exhibition presented 20 works by artists responding to environmental challenges occurring in their countries and communities and was conceived as part of the program of conference events that culminated in the dance, music, and video work Blood, Water, Earth created and performed by Santee Smith. Emphasizing impacts of colonialism, neocolonialism, geopolitical forces, and industries, the artworks reveal the consequences of environmental damage on the food production, security, cultural independence, and general well‐being of communities who have contributed the least to the current crisis but feel its effects most acutely. The concept of struggle for environmental justice binds together all the visual artists represented in Art and Environmental Struggle. When viewed in the context of the ecological calendar model, the compelling ways in which visual and performing artists confront these topics through an expression of Indigenous ecological knowledge, environmental stewardship, and place‐rooted traditions, present a diverse but resilient perspective and offer a methodology of hope to address this most pressing of issues. Plain Language Summary: The Herbert F. Johnson Museum of Art's exhibition Art and Environmental Struggle was offered while the international conference Rhythms of the Land: Indigenous Knowledge, Science, and Thriving Together in a Changing Climate, took place at Cornell University in October 2021. The exhibition showed 20 works by artists from around the world, that convey Indigenous knowledge and build understanding of the environmental changes in their countries and communities. In conjunction with the conference and exhibition the dance performance Blood, Water, Earth was presented at Cornell by Santee Smith. These visual and performing artists' works reveal the serious effects of colonialism, industry, and environmental damage on the food security and cultural independence of their communities and address the struggle for environmental justice. Like the ecological calendar model, these artists' expressions of Indigenous ecological knowledge, tradition, and care for the environment present a diverse but hopeful outlook. Key Points: Like the ecological calendars of the Ecological Calendars for Climate Adaptation Project, contemporary art by Indigenous and place‐based artists visually encodes ecological knowledgeWorks of art both document the degradation of local environments and demonstrate resilience and hope in communities reclaiming agency and sovereigntyAn exhibition of art visualizing ecological knowledge allows viewers to learn from artists but also to create new knowledge via the relationship of works [ABSTRACT FROM AUTHOR]

We review a body of literature that addresses the incomes of visual artists and their participation in the labour market. It is clear that the level and composition of visual artists' incomes varies widely, as does their engagement in different forms of employment. The lack of a consistent definition of an artist and a lack of consistency in income sources included in current data collection presents challenges for researchers. The focus of our research is on the economic status of visual artists in Australia, and we identify a number of considerations that might inform policy responses to their financial position. [ABSTRACT FROM AUTHOR]

Characters in Kathakali, a South Indian classical dance, are of five types viz. Though all five types of Kathakali costumes caused dermatitis, "pacha" caused dermatitis in the highest proportion (86.6%) (Table 2). [Extracted from the article]

Many have defined the artist‐teacher, most notable Alan Thornton (2013), who outlines the artist‐teacher as an individual who practices making art and teaching art and is dedicated to both activities as a practitioner. However, this definition does not specifically define the artist‐teacher in adult community learning (ACL). This article considers if this definition is applicable to artist‐teachers working in this sector. ACL has its own qualities that set it apart from other educational sectors, such as secondary and higher education, including precarious work hours (Westminster Hall 2021). This article interrogates if these affect the identity of the artist‐teachers working in ACL, and thus how they need to be defined. In this article, several similar terms and definitions are considered for their applicability to the artist‐teacher in ACL and results from artist‐teacher participants in relation to this are analyzed. [ABSTRACT FROM AUTHOR]

Using comprehensive data from German visual artists, we provide strong empirical evidence of a gender gap in revenues. We find that female artists have significantly lower revenues from the art market and are about ten percentage points less likely to remain in the top category over three years. This gap persists in the most prominent art forms and is more pronounced for younger artists. Only 30 to 40% of these gaps can be explained by differences in observable characteristics. We also find differences in the networking behaviour of the artists of different genders: females are connecting more, whereas males tend to create tighter links, suggesting the importance of the latter for the art market. [ABSTRACT FROM AUTHOR]

The article provides information on the collage entitled "Echo," occasioned by the work of collaborative artists Ryan M. Pfeiffer and Rebecca Walz. Topics discussed include comparison of the drawing and collages by Pfeiffer and Walz with those of Georges Bataille, role of surrealism in the work of Pfeiffer and Walz, and a recurring motif in Pfeiffer & Walz's collages and their wider corpus.

This study aimed to examine preschoolers' perceptions of the concept of artist. The participants are 10 preschoolers aged 5–6. This study is a phenomenological qualitative research study. First, a short conversation was held with the children about the concept of artist. Then, the children were asked to draw an artist and explain their drawings. Descriptive analysis was used to analyse and interpret children's pictures and responses. The study revealed that the children mostly drew artists in the field of painting. It was also found that most of the children had a tendency to draw artists representing their own gender, and they mostly drew paints and palettes to depict the materials used by artists. It is recommended to introduce less‐known / well‐known artists, who are interested in art branches other than painting, from local and foreign cultures, considering the age and developmental characteristics of children, within the scope of art activities held in preschool education institutions. In order for children to understand that there are many other branches of art besides painting and that there are many different artists beside painters, teachers may plan different activities such as three‐dimensional modelling, photography and graphics within the scope of preschool art activities. [ABSTRACT FROM AUTHOR]

The article contextualises the emergence of the Feral Art School, established in Hull in 2018 by artist‐educators following the winding down of Hull School of Art and Design. This alternative art school is the most recent of many established in the UK since the government's Independent Review of Higher Education Funding & Student Finance or Browne Review. This article argues that the processes of 'economisation' enacted by this review have severely threatened the health of arts education in the UK, forcing the closure of provision and increasing barriers to higher education arts education for the disadvantaged. This article uses the example of Feral Art School to demonstrate how provincial art schools might re‐emerge in new, counter‐hegemonic forms. The Feral Art School is run as a Community Interest Company (CIC) with cooperative values. We argue that these values extend to the philosophy of education underpinning all of Feral's activities. [ABSTRACT FROM AUTHOR]

Accessible Summary: ●Lisa Scott became an artist after she joined a supported studio in Sydney, Australia.●The studio is like her second family, and the staff have always told her 'you can do this'.●Lisa is proud that she is an artist and likes being able to share her work.●Lisa made an artwork about her life story and some big changes she has experienced. Background: Over 10 years ago, Lisa Scott first began making art at a studio in Sydney that supports people with intellectual disability to realise their creative ambitions. In this article, we consider what it has meant for Lisa to become an artist and, in the process, share the story of other big changes in her life. Methods: During audio‐recorded conversations, we discussed Lisa's life story and the role of her creative practice within it. We worked together to write about some of the things we discussed. Findings: Becoming an artist has been an important transition for Lisa. With the support of staff at the studio, she has realised what she is capable of, and so have other people—from her family to complete strangers—who all value her work. Through her art, Lisa has been able to find personal relief and reflect on big changes in her life, including the loss of her mum. In a dress hand‐stitched with words from her journals, she has explored another way of sharing her story. Conclusions: Art at its best forges connections between people. Lisa's art and life are evidence of this. [ABSTRACT FROM AUTHOR]

Mathematical images occur in lectures, books, notes and posters, and on the internet. We extend Kennedy's proposal for classifying these images. In doing so we distinguish three uses of images in mathematics: iconic images; incidental images; and integral images. An iconic image is one that so captures the essence of a concept or proof that it serves for a community of mathematicians as a motto or a meme for an area or a result. A system such as Euclid's can combine such apprehensions with other forms of logical inference and an image that is built into a system of exposition is called an integral image. An incidental image is an image used by a mathematician to reason with a particular concept. In addition to this thematic characterization, we also explore one concept, infinity, in some depth by comparing representations of the infinite by mathematicians and artists. [ABSTRACT FROM AUTHOR]

The antecedents of the artists' resale right (ARR) can be traced back to late 19th century France, the droit de suite, as it then was, was as much a welfare right as it was a response to the failures of the French droit d'Auteur system to adequately reward visual artist for their creative endeavours. Today, the success of the ARR may be attested to by its prominence in international law, however, this internationalisation has not brought with it uniformity. The European experience speaks to this; under the harmonisation framework of the Artists' Resale Right Directive 2001/84, Member States are granted significant scope in its implementation and accordingly ARR models have come to pass which encompass a social security function reflective of the original French formulation. This article, by drawing on the social history of visual artists, and by considering the nature of the ARR and its predecessor the droit de suite, argues that socially orientated ARR models, which exist in Germany and Norway, represents a modern formulation of the droit de suite which more fully responds to the needs of visual artists today. [ABSTRACT FROM AUTHOR]

Co‐Guest‐Editor of this edition of AD Owen Hopkins interviews artist and designer Camille Walala, exploring her work, her design process and her admiration for the 1980s Italian design group Memphis. Walala brings wild colourful exuberance to drab urban spaces and also develops invigorating, almost psychedelic interiors. [ABSTRACT FROM AUTHOR]

Mentoring within the criminal justice system plays an important role in rehabilitative and desistance processes. The experiences of arts‐based mentors are scarcely documented. This study discloses the narratives of eleven trained arts mentors who support ex‐offenders in continuing their artistic engagement. Findings show a number of benefits and challenges for those who mentor ex‐offenders, and their experiences convey a message to new recruits. Reasons for becoming a mentor, limitations and constraints, and mentee‐focused factors are discussed. [ABSTRACT FROM AUTHOR]

Among the so‐called "special effect" pigments, fluorescent ones play an important role, thanks to their application to a wide range of objects in everyday life. Also in the artistic field, they have been exploited since 1950s by several painters (among others Andy Warhol and Frank Stella), thus representing a particular class of materials with which conservators must confront themselves. Not much information is available about the complete composition of commercial fluorescent paints that are based on fluorescent dyes dispersed in a transparent and brittle resin. Herein, Fourier‐transform Raman spectroscopy and surface‐enhanced Raman spectroscopy (SERS) were used to recognize the main dye components of the paints, whereas thin‐layer chromatography was coupled with SERS to better distinguish further chromophore mixes responsible for the color and/or the fluorescence emission due to the presence of optical brighteners. This methodology results suitable to more fully define the composition of such fluorescent paints originally used by artists in their works, thus providing valuable information to conservators for restoration and retouching efforts. [ABSTRACT FROM AUTHOR]

To better account for information behavior in everyday life, the field must more fully explore information phenomena in the lifeworld, that is, information experience. This article shows that one way to do this is through the concept of understanding. Visual art is identified as an illuminating domain for an initial foray into such research. This article presents findings from a phenomenology‐of‐practice study of the information behavior of visual artists. Seven local artists documented their experiences creating self‐portraits, and semistructured follow‐up interviews were conducted. The findings show how these participants built understanding with information in their work of creating individual self‐portraits. These understandings fall into two categories: of the self and of the artistic process. Many forms of information, traditional and novel, contribute to these understandings; examples of the latter include memories, the lived environment, profound experiences, and online browsing. These findings extend the literature on artists' information behavior, connect everyday information behavior to information experience, and illustrate a method for studying understanding empirically in information science. The article closes by discussing the meaning of these findings for the future of information science, suggesting that the kinds of information employed by artists might be recognized and appreciated more widely throughout society. [ABSTRACT FROM AUTHOR]

Studies of auction prices for artworks typically relate the conditional moments of a single realised price distribution either to characteristics of the artist, the artwork and the auction or to pre‐sale information. Using data from the Australian Art Sales Digest for the 100 best‐selling Australian Indigenous artists over the period 1987–2014, we use finite‐mixture models to understand heterogeneity in auction prices. Our results complement the existing literature by identifying new ways in which factors previously used in the literature may be related to price heterogeneity in a differentiated market such as that for Australian Indigenous art. [ABSTRACT FROM AUTHOR]

The purpose of this article is to share ideas from 5x5x5=creativity, a research initiative established in Bath (UK) in 2000, with the aim of developing and embedding a creative and reflective pedagogy in schools and early years settings. 5x5x5=creativity research, in partnership with schools, educators, artists, creative professionals, mentors and cultural centres, aims to raise the aspirations and improve the life chances of children and young people as creative learners. In our research we want to develop creative reflective practice and influence systemic educational change. This research defends the special role of the arts in developing a more flexible concept of education through curiosity and creativity, together with the capacity for the arts for allows 'possibility thinking' through a creative and critical pedagogy. In this article we analyse the impact of the artists' involvement on the development of a creative, reflective pedagogy in schools. As both artists and educators we believe it is necessary to challenge current orthodoxies and establish creative and critical thinking at the heart of learning for both children and adults. [ABSTRACT FROM AUTHOR]

A literary criticism of the book "On Criticism" by Noel Carrol is presented. It offered as a philosophy of criticism, an attempt to reconstruct rationally the practice of art criticism. It mentions Carroll’s critic which sound like a teacher of art or music appreciation addressing students. It also mentions Carroll’s views on work of art which is the achievement of the artist.

The article offers information on the 2017 European Society for Rural Sociology Conference that was held in Krakow, Poland. It mentions about the debate on rural art and creativity has been primarily shaped by urban academic discourses seeking to apply, modify and criticise the creative class ideas; and also mentions about the recognition of art research, and most social scientists have demonstrated limited interlinkages with artists and art professionals.

This article presents a unique amalgam across artistic research and rural sociology. We draw on a collaborative art residence programme between a University and an arts organisation in England, which invited an artist to respond to a highly contentious topic in rural England: housing development. The ambition for the residency was, firstly, to provide new perspectives on rural housing research, and, secondly, to provide a space for engagement between the local community, planners and academics. Through our interdisciplinary collaboration, we explore how Sander Van Raemdonck's artistic process worked towards these ambitions. The artistic practice involved a walk with the local community, a peripatos, in a post‐industrial site proposed for housing development. Drawing on the artistic practice, the interdisciplinary team developed then a second walk, a 'walkshop', to mediate between housing/planning experts and reflect on the experience of the artistic practice. Following those artists and social scientists that already utilise walking as a method, we argue that the artistic peripatos can support a multi‐sensory way of communicating, a way to get 'under the skin of a place'. More critically, we argue that artist in residence programmes provide rich opportunity to develop interdisciplinary research with artists. [ABSTRACT FROM AUTHOR]

The authors employ hip‐hop music as a literacy heuristic aimed at supporting the literacy development of kindergarten and first‐grade students. How do young students learn to write hip‐hop lyrics? How do young students engage in hip‐hop reading and writing processes? The classroom examples show that students engaged in individual and interactive writing practices and a variety of practices associated with music disciplinary literacy. Hip‐hop reading and lyric composition constituted culturally relevant literacy, which connected the students to the literacy practices found in their community and families. [ABSTRACT FROM AUTHOR]

Artists have long been understood to play a vital role in local communities. Our intent is to develop a deeper understanding of the distribution of artistic human capital; specifically, the extent to which particular patterns of co‐location exist across Australia. We find little evidence of patterns by type of artistic human capital. Interestingly, however, our analysis does reveal a form of grouping that enables us to prescribe a typology based on the degree to which the number of types of artistic human capital resides. Using this typology we explore differences among states and regions across Australia. [ABSTRACT FROM AUTHOR]

While some advocate the use of arts programmes to help improve inmates' lives and reduce recidivism, the process of how such programmes can have therapeutic and practical value in prison's hostile environs requires further study. This project investigates how one prison arts instructor approaches the task of developing the inmates' creative potential and unleashing their 'inner artist'. The article describes the pedagogical approach aimed at helping prison inmates redefine themselves as artists via art classroom rituals. The imprisoned self as the artist, however, emerges mainly as a temporary identity that must be submerged upon return to the daily routines of hypermasculine prison environments. Thus inmates experience a profound duality of their identities, split between 'artist' and 'inmate', which constrains the long‐term therapeutic and rehabilitative value of the intervention. [ABSTRACT FROM AUTHOR]

Charles Samuel Pollock Parish (1822-1897) served as a chaplain with the armies of the Honourable East India Company and, after 1858, seamlessly adapted to the change of authority and served, in the same capacity, the Crown in British Imperial India, which included Burma (now Myanmar). During that period he collected plants for the Royal Botanic Gardens, Kew, and for the pioneering orchid nursery of Messrs. Hugh Low & Co. of Upper Clapton in England. GLO:D82/01dec20:curt12363-fig-0001.jpg PHOTO (COLOR): 1 Paphiopedilum parishii (Rchb. f.) Stein, drawn by Charles Parish, painted by his wife Eleanor Parish, from a plant flowering in Moulmein, Myanmar in 1867. [Extracted from the article]

This piece introduces the author's doctoral research, "Roots: establishing British Caribbean Diasporic identity through dance." The research identifies how choreographic and movement practices function to establish and affirm British Caribbean Diasporic identities, focusing on how this occurs within two generations of British Caribbean Diasporic artists who have been creating and performing work since the 1970s to 2019. In this introduction, the author details her entrance into the research, the methods and approaches used, and one of the key theoretical concepts of the research: practices of rooting. [ABSTRACT FROM AUTHOR]

SUMMARY: In this essay I situate my recent on‐going series of drawings, Things that Art, which investigates and deconstructs the ideas of collection and labeling in order to consider how scholars might creatively think with and through methods used by artists. [ABSTRACT FROM AUTHOR]

Copyright of Journal of the Royal Anthropological Institute is the property of Wiley-Blackwell 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.)

Artists of all genres express their emotions through their creations and market their works online. We argue that in marketing their work online, it is important to understand not only the emotional responses of the artistic works themselves but also that the sentiment evoked on their websites matters. Developing the correct website sentiment can have favorable consequences. It can increase the interest of potential consumers, assure that appropriate expectations are set for the actual consumption experience, and lead to increased sales and word of mouth marketing. Online sentiment that is ill‐aligned to the emotions the actual offering evokes can have adverse consequences, including disappointment with the actual offering and buyer's remorse. To better understand the online sentiment of artists' websites, we begin by briefly revisiting the interplay between art, emotions, and the issue of online “sentiment.” Then, we describe a study of a sample of artists' websites that had the objective of gauging both the nature of and the extent of the emotions present in its text, as well as gaining an indication of the sentiment of the website. We describe the use of a relatively new content analysis tool to do this. Following this, we explore the data gathered, with the specific purpose of determining whether the emptions expressed on artists' websites can significantly predict sentiment, if so, which emotions tend to be the strongest predictors. We conclude by discussing some managerial implications of the results and by identifying avenues for future research. [ABSTRACT FROM AUTHOR]

Abstract: Since the end of apartheid (1994), public art—broadly defined as art in public spaces (Miles )—has been increasingly present and visible in the South African urban landscape. But South African public art, and particularly the dominant one sponsored by public entities or private companies, mainly consists in one type of art that is permanent, installed in big cities, produced within top‐down strategies, and destined for an abstract public. In reaction to that trend, some artists are attempting to critically and radically redefine public art in South African cities today, especially by looking at the role of the different publics in the art‐making process. In their desire to include the various publics in the making of art, one can wonder about the capacity of these artists to promote a new form of public art that could be a tool to amend the urban context by (re)integrating all the publics that compose South Africa today in the production of the post‐apartheid city. To address this concern, I will focus in particular on the Made in Musina project. Initiated by two artists in a small town close to the South African/Zimbabwean border, this project is emblematic of an attempt to invent an alternative way of making public art with its publics (in that case, local artists), starting from their desires, even at the risk of having the initial project “hijacked.” Based on observations in situ and in‐depth interviews, I will consider the different phases of this project in order to grasp the opportunities and the challenges of such public art. I will argue that this South African “new genre public art” (Lacy ) is changing not only art itself but also the way South African cities—and small towns like Musina—imagine themselves through art and artists. [ABSTRACT FROM AUTHOR]

Abstract: Using a serendipitous public art encounter as a point of departure, this article explores how what I call co‐productive acts are an important part of building relationships between individuals, public art installations, communities, and public art programs. This article is a “thought piece”; as such, I present an introductory examination into an important arena in need of further inquiry: public art and co‐productive acts. As will be made clear, co‐productive acts are different from the production of public art, co‐productions, and collaborations. Though all are important parts of the making of public art, they occur at different times in the life cycle of a piece, and involve different people and interactions. Many people are unaware of their community's public art program (e.g., the process, the funding, and the collection); however, when they experience a piece of public art, there is a possibility that they might have a very different understanding of the piece, themselves, the collection, and the public art program. As a contribution to the literature and practice of public art, I pose questions and suggest directions for further inquiry that might help the field consider how co‐productive acts are, indeed, an important part of the life of public art (installations and municipal public art programs). [ABSTRACT FROM AUTHOR]

Abstract: This article describes the author's development of an aesthetic approach to psychoanalytic psychotherapy of patients suffering from traumatic levels of grief by describing her experiences as a patient, a therapist, and a consultant to the design firm that partnered with the National September 11 Memorial and Museum. Using Aristotle's On Poetics as an inspiration, this article explores the ways dialogical storytelling creates a therapeutic “action‐plot” that transforms reversals of fortune. Attending to patients’ first‐person phenomenological experience (without attributing cause), therapists help them transform their losses by listening to their stories. Therapists dwell with them in uncertainties while marking time in regularly scheduled meetings; they accompany their patients on a journey while also orienting to their modes of travel. They simultaneously co‐construct tales of the journey, attentive to the poetic dimensions of sight, sound, and space that they encounter. In so doing, therapists serve not just guides and judges, but artists, bringing meanings to the trail. [ABSTRACT FROM AUTHOR]

Abstract: Is there an aesthetic dimension to therapeutic action? The author proposes that while the arts, in this example, dance, can serve as a bridge to give form and expression to the ineffable for both the artist and the observer, language, especially metaphorical language, in the context of a resonating therapeutic relationship, similarly gives form and enhanced meaning to what has been felt but not yet understood. Even if the content is painful, the process of mutually creating a common language that reorganizes the mind is aesthetically pleasing. [ABSTRACT FROM AUTHOR]

This article puts into context the unusual experience of Whang at Tong, the Chinese boy who was brought by John Bradby Blake from Canton to England, against a wider background of 18th and 19th century Canton where a considerable number of Chinese made a living from foreign trade. Referencing various sources and circumstantial materials, I suggest that prior to his first departure for England, Whang at Tong had already been exposed to an English‐Chinese environment in which he was able to make a living by being an in‐between person, perhaps also picking up some English with a few English‐learning kits. He might have benefited from existing foreign knowledge circulated in Canton when he was young; he might also have contributed to the enhancement of this pool of knowledge after he returned home from England in the 1780s. The experiences of Whang at Tong thus open a window to reconsider how cultural encounters between East and West could have taken place, including especially among ordinary people on a daily basis. [ABSTRACT FROM AUTHOR]

Indigenous artists are frequently placed within the too-tidy binary of traditional vs. modern. Indigenous culture is considered frozen and, thus, incompatible with modernity. This article examines the Inuk avant-garde vocalist Tanya Tagaq (b. 1975), whose creative and communicate outputs demonstrate a larger political project of undermining mainstream representational practices regarding Indigenous identity (particularly in Canada) and presenting Indigenous-centered sounds and perspectives. While Tagaq has constructed an artistic identity that challenges the simple binaries of past/present and traditional/modern, mainstream media often relies on representational practices straight from the Settler colonialist playbook. This article illustrates how she makes her agency clear in both her artistic output and in her social media activity on Twitter. I examine media coverage of Indigenous artists and Tagaq in particular and then dismantle the self/other and modern/traditional binaries with reference to her two latest albums-_Animism_ and _Retribution_- and two Twitter 'wars' in which Tagaq's celebrity status incites both reactive and active critique of Indigenous-and specifically Inuit-representation in Canada. She, in turn, presents her own narrative as a deliberate strategy of cultural and political self-determination. [ABSTRACT FROM AUTHOR]

The last 35 years have seen an international proliferation of artists specializing in temporary installations with projected photographic elements, among them Krzysztof Wodiczko, originally from Poland, B. K. H. Guttman in Germany, Karin Ogren in Sweden, and Bill Viola and Gary Hill in the United States. One of the earlier artists to implement projection as a significant metaphor - rather than as a mere novelty - is Wyn Geleynse, born in Rotterdam but a long-time resident of London, Ontario, where he has pursued a fairly quiet lifestyle belying his growing international reputation in Amsterdam, New York, Paris, São Paulo and numerous other major centers. Geleyense's work is deeply informed by psychoanalytical thought, especially as regards the construction of male identity. [ABSTRACT FROM AUTHOR]

The author discusses how art has become central aspect of social capital in postindustrial Western world in which cultural elite make extravagant investments of time and money in their assumption and collection of works by artists. Topics include method of genealogy and genealogy of outsider art, how ancient association between madness and poetry was rediscovered in the Renaissance and how attitudes toward art of insane began to change with rise of modernism in European painting.

Making The Modern Artist: Culture, Class and Art-Educational Opportunity in Romantic Britain In I Making The Modern Artist i , Martin Myrone examines the art education offered at the Royal Academy Schools and its students' contingent careers during the years from its opening in 1769 until 1830, dates chosen to represent three generations of Academy artists during the Romantic period. The book has its origins in Myrone's essay in I Living with the Royal Academy: Artistic Ideals and Experiences in England, 1768-1848 i (eds. [Extracted from the article]