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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]

The article presents the archive piece "Nikolai Wassiliewitch Kobelkoff: "The Limbless Wonder"," which was taken from the July 2, 1887 issue of the "Boy's Own Paper." It relates the story of one of the most extraordinary performers in Europe. A photograph illustrates that part of his image as a performer was his ability to appear as normal as possible.

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Richard Du Bourg (1738-1826) was one of the first artists in Europe to make cork models of the classical buildings and ruins of the Roman Empire. His London exhibitions spanned almost half a century and attracted a diverse audience, including nobility and gentry, neoclassical architects, tourists from the provinces or overseas, intending Grand Tourists about to embark on a trip to France and Italy, groups of students with their tutors, and parents with their children. In addition to bringing the new technique of cork modelling to England, and developing his own distinctive modelling style, he drew on the latest theatrical innovations to create multimedia spectacles that would instruct and amaze his audiences. Du Bourg was himself a performer, a familiar and personable storyteller, as integral to the exhibition as his models and multimedia. This paper corrects a prevailing view that Du Bourg was little more than a commercial showman. [ABSTRACT FROM AUTHOR]

This paper analyses how cultural production and artistic activities can explain the social (de)construction of borders. The study looks at the soft, cultural aspects of bordering, encounters between the immigrants and their host societies, and the conscious and unintentional ways of altering their mental frames. The analysis focuses on the World Village Festival organised annually in Helsinki, and a young literary project titled “Sidelight – is this Finnish literature?” Based on these two case studies, associations between the concepts of bordering, liminality and translation are developed to enable a deeper understanding of the encounters between immigrant cultures and their host societies. [ABSTRACT FROM PUBLISHER]

The article illustrates the potential of engaged arts-based pedagogies in higher education with respect to integration interventions for young refugees in Europe. It discusses the conception and implementation of the collaborative initiative "Find Refuge in Art", which was part of the research Project PRESS at the Hellenic Open University. This example shows how artistic synergy may become an integral part of research design, framing both awareness raising and open education in the backdrop of intercultural exchange. The initiative encouraged the co-production of artistic work from pairs of artists with refugee and non-refugee background and culminated in an exhibition with over 75 participating artists. Challenging the victimizing conceptualizations of refugee art as a primarily trauma-centered representation of displacement, the article invites us to consider questions of agency and inclusion in terms of mutual recognition and to widen participation as a means of fostering transformative intercultural learning and epistemic justice in universities. [ABSTRACT FROM AUTHOR]

This paper is based on a global sample of the 214 most prominent modern visual artists born 1850–1945. Two analytical methods are used to analyse the age at which artists produce their best works—one based on year-of-birth cohorts of modern visual artists and the other on stylistic groups. The cohort-analysis shows that the career patterns develop similarly over time for artists working in the USA and Europe; over time the artists’ peak ages first increase, reach their maximum for artists born between 1890 and 1909, and then decrease again. The study of stylistic groups shows that artists associated with Fauvism, the Nabis and Post-Impressionism experience an early peak, whereas artists associated with Surrealism, Impressionism, Abstract Expressionism, Art Informel, Pop Art, Expressionism and Cubism peak later in their careers. [ABSTRACT FROM AUTHOR]

Walter Spies is famed as a multi-talented artist who came to live in Bali and who was exceptionally well suited to absorb and embrace the outlook and worldview of the Indonesians he lived with. Through synthesising original and secondary sources in Europe and in Indonesia, this paper explores why he was so responsive to the culture that he encountered there. It investigates Walter Spies' early and formative years in Germany as a high school graduate and as an aspiring artist in Dresden. It focuses on the influence of Expressionism and of die Brücke (the Bridge) artists, and in particular on the school and garden city of Hellerau on Spies. It argues that, although he was not part of Hellerau in the sense of being formally enrolled or associated with it, he was very much of it. Spies drew inspiration from many of the ideas circulating in Dresden at the time and used them as a basis on which to explore a different body of ideas and traditions originating in Indonesia. Parallels are, for example, drawn between the spirit of Pita Maha and the unity of cultural life (architecture, production, the arts and the environment) championed at Hellerau. [ABSTRACT FROM AUTHOR]

This paper advances a micro theory of creative action by examining how distinctive artists shield their idiosyncratic styles from the isomorphic pressures of a field. It draws on the cases of three internationally recognized, distinctive European film directors-Pedro Almodóvar (Spain), Nanni Moretti (italy) and Lars von Trier (Denmark). We argue that, in a cinema field, managing artistic pressures for distinctiveness versus business pressures for profits drives filmmakers' quest for optimal distinctiveness. This quest seeks both exclusive (unique style) and inclusive (audience-appealing) artwork with legitimacy in the field. Our theory of creative action for optimal distinctiveness suggests that film directors increase their control by personally consolidating artistic and production roles, by forming close partnerships with committed producers, and by establishing their own production companies. Ironically, to escape the iron cage of local cinema fields, film directors increasingly control the coupling of art and business. [ABSTRACT FROM AUTHOR]

The language and wording used in the signatures of paintings by Domenikos Theotokopoulos (' El Greco') reveal a self-conscious construction of cultural identity in the early modern era. This paper argues that El Greco, an artist born in Crete who later worked in Venice and Rome for nearly ten years, and then for the rest of his career in Toledo, Spain, used his signature as a means to broadcast his artistic brand as a Greek other during his decades-long estrangement from his homeland. Regardless of where he worked or of the style that his paintings adopted, he always and without exception drafted his signatures in Greek, while at key moments of his career, especially during his frequent transitions from one city to the next, he appended his name with a declarative ' Cretan' in order to make it unmistakable that the viewer is looking at the work of a foreigner. In so doing, El Greco's use of language - a topic never taken into consideration with regards to the meaning of its deployment in his signatures - reveals much about the politics of cultural identity in the multicultural societies in which he worked. [ABSTRACT FROM AUTHOR]

Konstrukcja w Procesie/Construction in Process featured work by 54 international artists in an abandoned nineteenth-century textile factory in Łódź, Poland in 1981. It was a curious, multi-layered exhibition that brought together unresolved politics, a curatorial method of 'sorting out' or 'arranging for', and a bohemian approach to life and art that looked back to the European avant-gardes of the 1930s. This article aims to reveal that, via the organizers' collaboration with Solidarity, the exhibition not only rejected the political bodies in power, but strove to articulate a proposal for an altogether new socio-political reality. [ABSTRACT FROM AUTHOR]

The author focuses on violence in warfare which inflicts pain and sufferings faced by Europeans in First World War and mentions re-examination of structure and elements of arts done by several European artists. Topics discussed include poem "In Parenthesis" by David Jones that has not found place in literature, drawings of landscape of war made by Jones and assonance and cadences present in the poem.

The neural underpinning of art creation can be gleaned following brain injury in professional artists. Any alteration to their artistic productivity, creativity, skills, talent, and genre can help understand the neural underpinning of art expression. Here, two world-renown and influential artists who sustained brain injury inWorldWar I are the focus, namely the French artist Georges Braque and the Austrian artist Oskar Kokoschka. Braque is particularly associated with Cubism, and Kokoschka with Expressionism. Before enlisting, they were already well-known and highly regarded. Both were wounded in the battlefield where they lost consciousness and treated in European hospitals. Braque's injury was in the left hemisphere while Kokoschka's was in the right hemisphere. After the injury, Braque did not paint again for nearly a whole year while Kokoschka commenced his artistic works when still undergoing hospital treatment. Their post-injury art retained the same genre as their pre-injury period, and their artistic skills, talent, creativity, and productivity remained unchanged. The quality of their post-injury artworks remained highly regarded and influential. These neurological cases suggest widely distributed and diffuse neural control by the brain in the creation of art. [ABSTRACT FROM AUTHOR]

The town views were a constant preoccupation of the European scientists, artists, geographers and military stuff, sometimes without a distinct separation between them. Starting with the 17th century, the correct representations of space became a predominant military matter, controlled by the engineers of the main monarchies of Europe. Even so, it remained more "space" to conquer and the artists proved to be real agents of change, especially "vedutisti", concerned to catch that complex genius loci which combines spectacular landmark panoramas with everyday life, choosing Europe's main cities as scenery. Transylvania region has also experienced a similar process due the influence of the Age of Enlightenment, but with a delay specific to its peripheral geographic position and political status. The city of Cluj-Napoca was one of the favourite subjects of the foreign and local artists, which proved to be very sensitive to the trends of the urban change capturing the local colour as a statement of the historic past, but also as a change in perceiving the urban space. Compared with almost one-sided urban views of the past centuries, the 19th century brings a 360-degree perspective over the urban space, significant for the future development of the city. [ABSTRACT FROM AUTHOR]

Copyright of Annals of the Association of American Geographers 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.)

The article focuses on the works of Nara Yoshitomo that incorporates a thoroughly disciplined syntax of dreamlike associations, fairytale motifs from European sources and embodies a different relationship to the child and to the gaze. The artist has earned international attention with his exhibition entitled "Superflat" held in Japan in 2000. The eyes of the child depicted in the works of Yoshitomo are usually elongated, narrowed and a flattened ellipse.

Artist Ernest Mancoba has become, for many scholars, representative of the West's neglect of Africa. Mancoba left his native South Africa for Paris in 1938 and later became a founding member of the European art movement CoBrA. Yet Mancoba's relationship to CoBrA has been almost entirely erased from history. This article asks why Mancoba has been excluded from art historical texts on CoBrA, and explores three factors that may have resulted in his exclusion. First, this article argues that Mancoba was marginalised by CoBrA, whose founding ideology would have demanded that they view him as a 'primitive' Other. Second, it is likely that Mancoba sought to distinguish himself from the group in order to escape the colonial mentality that drove their artistic inspiration. Finally, the celebration of Mancoba as a pre-eminent 'South African artist' has caused his work to be ghettoised, celebrated as uniquely 'African' but denied the possibility of being understood in dialogue not with other African art but with European modernists. [ABSTRACT FROM AUTHOR]

The article discusses the writing on the wall text used in the work of artists Douglas Gordon, Simon Patterson, and Langlands & Bell's Ben Langlands and Nikki Bell in Europe. It notes that Gordon's work often uses ambivalence between the classical and the contemporary world, and dichotomies of good and evil, black and white, and lightness and darkness in his major themes. It states that Patterson has appropriated the vocabulary and metaphors of travel in most of works, which include the Untitled (Sails) in 1996, J.P233 in C.S.O. Blue in 1992, and The Great Bear. Moreover, Langlands & Bell state that they explore the complex of web of relationships linking architecture and people, and the coded systems of circulation and exchange.

The article discusses the works of artist Richard Long in Europe. It cites Long's "Snowball Track" of late 1964 suggests complex strategies of photographic and landscape art, though the photograph might appear as an unsuccessful holiday snap to naive observers . It mentions that his work titled "A Sculpture in Bristol," which involved digging a trench in the grounds with white plaster and recorded photographically from various directions, teases its viewers with negative volume as the principal and is now in the Tate Gallery collection. Moreover, his work in 1966 titled "Turf in the Circle" is a product of a balance struck between an urge to make durable object and a contrary impulse to reduce outdoor action.

Examines the representations of Pope Pius VII by several European artists. Representation of Pius as an adversary of Napoleon or an enlightened patron of the arts by non-Italian artists; Pius as a symbol of the resurgence of the Italian civilization according to works by Italian artists; Role of Pius in the Risorgimento, the Italian nationalist movement.

The author reflects on the fall of the Berlin Wall and the end of the Cold War. He highlights the role played by the West in the end of the Cold War. He points out the potential dangers posed by the post-Cold War period. He emphasizes the implications of this development for art and artists in Europe and the U.S.