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Performance arts can benefit people with acquired brain injury (ABI). This study explored the online delivery during COVID-19 restrictions, of a performance art intervention through the experiences of participants, artists and facilitators. Two community-based programmes were delivered. Online ethnographic observations and semi-structured interviews with participants, artists and facilitators were completed. The programmes benefited participants by addressing loneliness and isolation; building confidence through peer support; improving physical limitations through movement; improving communication through music and vocal work; and using poetry, visual arts, metaphor and performance to make sense of participants' experiences. Participants had mixed experiences of participation, but it was an acceptable alternative to in-person arts interventions for those who overcame digital challenges. ABI survivors can engage in online performance art programmes and find participation valuable for their health, well-being, and recovery. More work is needed to explore the generalisability of these findings, especially given digital poverty. [ABSTRACT FROM AUTHOR]

The dominant literature delineates that European museums tend to 'resist' the inclusion of immigrant and ethnic minority artists due to a Eurocentric evaluation of the art within a postcolonial setting. This study builds on this premise, but also emphasizes the significance of 'symbolic capital', as conceptualized by Pierre Bourdieu, in processes of inclusion and exclusion. While the evaluation of the art is of vast importance, inclusion and exclusion are also influenced by the relation between the symbolic capital of the museum professionals and the cultural and social capital of ethnic minority artists. Moreover, museum professionals in Dublin and Warsaw find creative ways of both safeguarding their symbolic capital and including ethnic minority artists. The research is based on semi-structured interviews with key museum professionals in several main modern art museums and galleries, and with ethnic minority artists, in the relatively new immigration cities of Dublin and Warsaw, as well as a review of past exhibitions. [ABSTRACT FROM AUTHOR]

The article focuses on the concept of "debordering" in woodcut printmaking practice in an inter-Asian context, exploring how artists from East and Southeast Asia challenge and dismantle borders through their artwork. Topics include the political manipulation of borders, the formation of borders from various factors, and the role of woodcut printmaking in connecting marginalized communities and promoting dialogue across regions.

Preaching is one of the most creative things a pastor does. This essay explores how a theology of creativity, the imagination, and the arts can encourage preachers to embrace proclamation as creative work. The invitation to preachers to engage their creativity and imagination in preaching rests on the theological claim that creativity is intrinsic to human beings as made in the image of God the Creator. To create is to realize a core human vocation and to deepen knowledge of God. The imagination is a primary avenue to such knowledge, since the imagination is a faculty that allows for a holistic grasp of realities both seen and unseen. An artistic approach to preaching is appropriate in that art functions in similar ways to preaching: like preaching, art explores the depths of human existence, creates wholes out of fragments, and makes connections between seemingly disparate phenomena. The dispositions of the artist are vital for preachers, especially the courage and risk-taking required in art-making as a venture into the unknown. These functions of art and qualities of the artist lead to reflections concerning the particular challenges involved in being a Christian artist, and to the role of beauty in the knowledge of God and hence in preaching. [ABSTRACT FROM AUTHOR]

In Plegaria Muda (2008, ‘silent prayer’), Colombian sculptor, Doris Salcedo amassed 166 elongated tables. Stacked in pairs with soil inbetween, the sheer number evokes a mass grave. However, here, the installation impedes free movement through the exhibition space. Viewers are left without the capacity to ignore the work’s presence. Salcedo was influenced by violence in Los Angeles where the war on drugs disproportionately affected African Americans and Latinos. Concurrently in Colombia, the ‘false positives’ controversy where the Colombian state compensated the Army for “guerrilla deaths,” or more accurately the extrajudicial killings of poor civilians. Here, I aim to historicise Plegaria Muda. Attending to these histories of state violence demonstrates precisely how Salcedo’s works suggest that distance cannot easily be placed between the United States with its presupposed moral authority and events elsewhere in the world. Namely, proximity in Salcedo’s works challenge a defensive estrangement the global north might put in place against violence in the global south. In Plegaria Muda, Salcedo connected the social death of marginalised neighbourhoods in Los Angeles A with the anonymous and invisible death of Colombia’s marginalised poor. Salcedo’s installation asks viewers to examine which bodies are, in Judith Butler’s terms, ‘ungrievable’ from the start. [ABSTRACT FROM AUTHOR]

This article describes findings of a transdisciplinary scoping literature review process that acknowledges assistive technology-users' contributions to disability arts by clarifying the key concepts of 'voice', 'communication technology', 'disability', and 'art'. Driven by the early stages of a participatory research project involving young disabled artists, the literature search was carried out between April 2019 and August 2019. The studies selected for this review (n = 14) were analyzed through a thematic narrative approach, which revealed seven overlapping themes that reflect the inseparability and transdisciplinarity of the key concepts. Later consultation with young disabled artists based on this literature review prompted changes in our research process. We conclude that nuanced research related to voice, communication technology, disability, and art is better situated in the radical expression of artists themselves, rather than in formalized research labs and codified studies such as that which housed this inquiry. Persons who use assistive technology contribute to disability arts and arts-related research but are underrepresented in literature about these topics This article synthesizes the findings of 14 research articles on the overlapping concepts of 'voice', 'communication technology', 'disability', and 'art' This article considers the six main steps of a scoping literature review, and argues that the final step of community consultation is most significant This synthesis of academic literature shows that people who communicate in many ways make significant contributions to disability arts, and the greatest predictors of knowledge in this area are found in the expressions of artists themselves—even more so than might be documented in academic literature. [ABSTRACT FROM AUTHOR]

The question of what role literature and art may play has become all the more urgent amidst the present intersectional crisis. This article discusses the oeuvre of author and visual artist Sara Baume which invites engagement with central aspects of this crisis: humanity's impact on nature and the resulting climate change, and the effects of neoliberal capitalism. Discussing Baume's three novels (Spill Simmer Falter Wither, A Line Made by Walking, and Seven Steeples) together with her non-fictional narrative Handiwork and the performance piece "The Alphabet of Birds," the essay argues that while it might be justified to approach Baume's work as poignant critique of the Anthropocene and its attendant ecological and spiritual devastation, it distinctly transcends such instrumentalist critical paradigms. Stoically lyrical about nature interlaced with variegated detritus, and using protagonists positioned on the margins of society, Baume offers an extended meditation on the role of art at the time of crisis and the possibilities of drawing sustenance from artistic creation. As such, Baume's work engagingly illustrates what Derek Attridge has termed the "singularity" of literature and art, resisting predetermined agendas (including those vitally beneficial) and providing a repeatable opportunity for a potentially risky encounter with alterity. [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]

Operations Desert Shield and Storm occurred over 30 years ago, yet many of those who were deployed continue to experience chronic and debilitating symptoms, now recognized as Gulf War Illness (GWI). While efforts have been made to explore clinical treatments for GWI, misperceptions and skepticism about its complex nature and a lack of consensus on its etiology impede progress in this area. A critical necessity remains to better understand the experiences, needs, and concerns of veterans with GWI. In this qualitative research study, 40 Gulf War veterans were interviewed about their perceptions regarding symptoms of physical health, cognitive functioning, quality of life, and the quality of care received. In addition, they depicted their experiences through an artistic elicitation collage. Through a grounded theory method, key findings indicated that there are remaining hurdles, such as challenging symptoms, persisting unknowns about the illness, and variations in treatment quality. Veterans have mostly managed and coped with GWI, but they voice the need for acknowledgment and support. The main implication from this study is the significance of both clinical and institutional validation and recognition of the GWI experience as well as the need for specific support systems. [ABSTRACT FROM AUTHOR]

This is an autoethnographic note on conducting fieldwork with the purpose of documenting; first, outside academia––doing documentary photography; and second doing ethnography and autoethnography within academia. It explores different ways to conduct fieldwork (alone or in groups, ethnographically or autoethnographically) and different traditional and innovative ideas about how the "field" was interpreted commonsensically in the past and could be interpreted now, using the analytical dimension of the hybrid field. It is written both autoethnographically and creatively and includes a short methodological "novel." The research note concludes with a reflection on a particular field-work experience, tackling its limitation and imagining different ways to perform it. [ABSTRACT FROM AUTHOR]

The article focuses on the intersection of personal life and political culture, exploring how writers and artists shape augmented reality through their work. Topics include the author's discovery of Paulus Berensohn's transformative creative life, the challenges of integrating body, soul, mind, and spirit into creative endeavors, and the healing potential of symbolic language through writing.

The possibility of non-regressive adult play therapy as a treatment for bipolar artists is explored via the peculiar case of the poet Hilda Doolittle (H.D.), analyzed by Sigmund Freud in Vienna in the early part of 1933. Notes kept by H.D. during the analysis, a 1944 memoir for a London periodical, and her collected letters form a case study. Freud is shown to abandon psychoanalytic treatment for H.D. in favor of a play therapy based in the psychology of Alfred Adler. The myth of the twins Artemis and Apollo illuminates the deep structure and dynamics of her treatment. An examination of her first session and four subsequent dreams shows a brother-sister transference that initiates the mother into the sibling hoard as the healing factor. Empathy, regression, and interpretation are eschewed in favor of spirited play, culture creation, and a cooperation of consciences. A quick comparison with Jung's individuation shows deep parallels in the two cases. The political intolerance of the Jungian community toward Toni Wolff seems to be the major obstacle in the development of this otherwise promising approach to treatment for creative personalities. [ABSTRACT FROM AUTHOR]

This meditation on diasporic belonging, the limits of light and vision, and the practices people enact to become one with the earth examines watercolors done by British artist William Berryman while he lived in Jamaica between 1808 and 1816. It focuses on depictions of the provision ground, small plots of land enslaved people and their families used to grow food and, ultimately, forge a connection with the land. The author peels back the layers of Berryman's scenes, looking beyond what has been rendered visible, countering European representations of landscape that privilege vision and light. She contemplates what we cannot see in these images: buried entities that formed a network of power known to enslaved people, engaging Katherine McKittrick's theory of Black geographies. Through these entities, people of African descent established blood ties with the earth of Jamaica, thus—to use Sylvia Wynter's term—"transplanting" their culture to the island. [ABSTRACT FROM AUTHOR]

In an era of deepening social and ecological calamity, artists from Puerto Rico currently address perennial questions of catastrophe in ways that foreground the island archipelago's multispecies relationships: the dynamic assemblages of human and more-than-human organisms that confront the ongoing depredations of environmental colonialism. This essay takes a first step toward establishing a field of multispecies Caribbean studies by analyzing the work of the contemporary Puerto Rican artist Dhara Rivera. Rivera's installations critically reimagine multispecies relations by crafting an aesthetics of ecological reinvention that neither hearkens back to a falsely harmonious ecological past nor foretells an entirely apocalyptic planetary future. Caribbean multispecies studies complicate commonplaces of ecocriticism by troubling the neat division between spectacular disaster and slow violence, questioning the mobilization of the assemblage as a straightforward and positive compositional attribute and bringing together environmental justice and environmental humanities scholarship with an eye to a livable present. [ABSTRACT FROM AUTHOR]

The article focuses on the collaborative process of creating covers for Feminist Review issues through collaging. It explores how this process embodies feminist values and promotes collective engagement. It also draws inspiration from the works of artists, activists, and zinesters like Ana Luísa Flores, Camila Mudrek, and Carla Duarte.

In his recent publications, the Prix Goncourt-awarded Franco-Afghan novelist-artist Atiq Rahimi explores cross-cultural contemplations beyond linguistic signs. Across his bilingual calligraphies, inspired by European, Asian and African philosophies, Rahimi emphasizes the effects of war on marginalized groups beyond borders. In this interview, Rahimi allows insight into his lifelong practice of calligraphies. He comments not only on calligraphies published in L'Invité du miroir (Rahimi 2020) but also on callimorphies published in his latest piece Mehstî, chair des mots (Rahimi 2023), He further explicates the notion of translingualism and challenges the definition of 'exoticism' from his perspective as an artist in exile. [ABSTRACT FROM AUTHOR]

The archive has been one of the most persistent buzz-words in the international artworld since the turn of the twenty-first century. While some claim that it has been used with such abandon that its usefulness is questionable at best, others view it as indicative of an important theoretical framework, necessary to make sense of some of the most important contemporary artworks and artistic practices. Several decades after the proposed "turn" to the archive, it is now possible to examine the phenomenon with the benefit of some historical distance, and ask: what was the archival turn, and is it still turning? The first part of this essay argues that an important explanation for the ubiquity of references to archives in the artworld was that elements of the notion theorized by philosophers, historians, and others lined up with a number of issues already of interest to artists and art writers. Two such intersecting interests are considered: first, the focus on institutional structures and a break with traditional forms of history, and second, a concern with critical research practices. In the essay's second part, the author takes stock of how the archive has been rearticulated in artistic practices that deal with some of the most pressing concerns of the present moment such as the socio-political climate of post-truth; engagement with microhistories and local knowledges; looming environmental catastrophe; and current conditions of AI assisted online surveillance. [ABSTRACT FROM AUTHOR]

According to the conventional art historical genealogy, artists associated with the Pictures Generation would find their conceptual adversary in Neo-Expressionism. The twinned issues of authorship and individual expression were key to this antagonism. While artists such as Julian Schnabel purportedly embraced the idea that painterly marks were unmediated expressive registrations, Cindy Sherman and Sherrie Levine, according to critics associated with the journal October, aimed to deconstruct the very means of representation. As this discourse advanced in the 1980s, a remarkably similar debate began brewing in regard to AIDS imagery. While photographers including Nicholas Nixon produced harrowing depictions of AIDS patients designed to express the epidemic's deleterious effects, activist organizations virulently opposed this strategy, opting for a political rhetoric centered on text-based graphics that pointed to the epidemic's structural roots and representational distortions. Robert Blanchon, the subject of this article, created a curious synthesis of these otherwise opposed methodologies, matrixing sexuality, death, and their idiosyncratic expressions through the formal language of Conceptual art. His work approaches what Isabelle Graw calls "conceptual expression," using what Benjamin Buchloh famously called the "aesthetic of administration" to analyze AIDS and the sexual freedom it displaced. In addition to introducing the work of this underdiscussed artist, this article frames Blanchon's practice as a prompt to reconsider the prevailing divide within a certain art historical lineage between "critical" art and subjective expression to make room for a framework that accounts for artists' porous movement between analytic and more personalized approaches to activist artwork. [ABSTRACT FROM AUTHOR]

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]

One insight at the heart of embodiment research is that the particular, material human body is the nexus of two loci: as an integration of sensory apparatuses, the body is the receptive locus of the world; at the same time, the body is the locus of responsive engagement with the world. Working from the framework of embodiment, this essay is a theological exploration of the arts, with particular attention given to the artist. The first half details two controlling ideas about the nature of embodiment and the arts: (i) the arts are necessarily embodied, and (ii) the Christian artist is in Christ's body. Here I examine how the artwork and the artist are necessarily embodied—the body is the horizon on which the arts are possible. With these two controlling ideas in hand, the second half of the essay considers three implications: (i) the artist works in and for the church; (ii) the arts are a gift of the Holy Spirit; and (iii) the arts are a place where the church experiences the Spirit's working. These implications yield, among other insights, the finding that Christ's body is the horizon on which the Christian arts are possible. [ABSTRACT FROM AUTHOR]

This article focuses on how artists who had to flee Syria between 2011 and 2016 have restarted their artistic careers in Austria. Pries' concept of arrival and Lamont's symbolic boundary approach offer an analytical framework for examining the process of becoming an artist anew. By drawing on data collected from a 4-year ethnography in various fields of cultural production in Vienna, this article sheds light on the barriers these artists face in their process of arriving. The findings show two superordinate challenges: 'having to start from zero' and 'struggling to be seen and recognized as artist'. A better understanding of the factors that affect refugees' artistic practices could be particularly beneficial regarding the role of art as a means of social inclusion. Finally, the question arises as to what extent artistic pathways can serve as a lens for studying the experience of arrival in the context of forced migration. [ABSTRACT FROM AUTHOR]

The article presents evidence of queerness embraced by interior decorator Robert Evans Locher and his friend and lover, artist Charles Demuth. It attributes the success of Locher and Demuth to privilege, whiteness, their adept use of code switching, knowledge of the elements of affect, symbolism and material culture, and elegant demeanor. It reconsiders two of Demuth's poster portraits that depicts homosexuality and contain references to interests and experiences that he and Locher shared.

C. R. Leslie's influential biography of John Constable highlighted that his friend's artistic strengths stemmed from his unprecedented geographical "confinement." The unpublished draft preface, however, compared Constable with a "voyage of discovery." Attending to Leslie's conflicting images of confinement and remoteness enriches our understanding of how Constable's rhetorical preoccupation with the local was a response to his place within expanding global artistic, social, and economic networks. His conception of the English landscape was constructed against a background of exploration, colonization, and international commercial expansion, the negotiation of these realities animating his paintings, prints, and public theorizing. [ABSTRACT FROM AUTHOR]

The article discusses the continued popularity of Georgia O’Keeffe's Southwestern artworks. The article delves into the 1938 Life magazine article on O'Keeffe which included photographs of her gathering dead animal bones for her art. It discusses her life in New Mexico and her relationship with the Abiqueño people.

The article presents an interview with Pueblo pottery artist Virgil Ortiz.

The notion of an increased incidence of left handers among architects and visual artists has inspired both scientific theory building and popular discussion. However, a systematic exploration of the available publications provides, at best, modest evidence for this claim. The present preregistered observational study was designed to reinvestigate the postulated association by examining hand preference of visual artists who share their artistic activities as short video clips ("reels") on the social media platform Instagram. Determining individual hand preference based on five reels for each of N = 468 artists, we identified 42 (8.97%) left handers, suggesting an incidence which is below but statistical comparable to the 10.6% expected for the general population (χ2 = 1.30; p =.25; Cohen's w = 0.05). Also, we did not find any support for the notion that the art created by left-handed artists is of higher quality than art of right handers, as no difference in public endorsement or interest were observed (reflected by the number of likes per post or account followers). Taken together, we do not find any support for difference in artistic engagement or quality between left and right handers. [ABSTRACT FROM AUTHOR]

What is arts–research collaboration and how does it work? What does arts–research collaboration as method for qualitative inquiry do? What is the effect of collaboration on creative practice and academic research? Drawing on a collaboration between an anthropologist and an artist, this article addresses a surprising lack of qualitative inquiry into collaboration between creative practitioners and academic researchers. By recounting how the authors developed and used collaboration as method, the article identifies and analyzes underpinning qualities of how they worked together through arts–research activities. It advances existing debate by agitating for more theoretically grounded accounts of collaboration, including those that take a processual view on making and creativity to argue for considering collaboration, itself, to be materials from which creative practice and outputs emerge. [ABSTRACT FROM AUTHOR]

The article offers information on the audition guidelines for performing choirs at the 2025 ACDA National Conference in Dallas, Texas. Topics include the conference's focus on celebrating choral heritage, encouraging applications that demonstrate excellence and engage ACDA membership, and eligibility criteria for conductors and choirs, including the requirement for co-conductors to submit one application together under specific conditions.

The article offers information on the experiences of Meg Stohlmann, director of choral and vocal studies at Gonzaga University, who participated in the International Conductors Exchange Program (ICEP) in Germany. Topics include the life-changing nature of the exchange program, the forging of meaningful connections with colleagues from the United States and Germany, and the lasting friendships and professional relationships established through the program.

The article offers information on the historical context and significance of the choral composition "Lament for the Stolen" premiered in 1938. Topics include the background of composer Sophie Drinker and her criteria for repertoire selection, the tragic kidnapping of Charles Lindbergh's infant son as a catalyst for the composition, and the premiere and reception of the work.

The article offers information on Universal Design for Learning (UDL) in choral education, focusing on creating flexible approaches that increase access and learning for all students. Topics include the origin and development of UDL, its principles rooted in Universal Design, and how UDL aligns with the structure of the brain to support engagement and learning.

This Note from the Field uses the travel metaphor and inquiry format of Elinor Fuchs's well-known pedagogical essay, "EF's Visit to a Small Planet: Some Questions to Ask a Play," to pose questions about a related object of dramatic analysis: the familiar world in which you live. The questions posed in this Note invite readers to imagine their regional, institutional, and local world as a social text that is worth reading before (or alongside) selecting plays for a theatrical season. It is the interplay between familiar and distant planets that can yield, as so many socially engaged artists and educators have found, meaningful choices of plays for local audiences. [ABSTRACT FROM AUTHOR]

On 3 March 2021, almost a full year after South Africa's theatres were closed due to Covid-19 restrictions, renowned opera soprano Sibongile Mngoma walked into the Johannesburg offices of the South African National Arts Council (NAC) to meet with senior department officials. She was there to demand accountability over their non-payment of promised Covid-19 artist relief funds to the tune of R300 million (roughly USD 16.6 million). When it became apparent that no official would honour the meeting, Mngoma announced her intention to wait. She did not leave the building for another sixty days. [ABSTRACT FROM AUTHOR]

Rebecca Johnston is a Seattle mixed-media artist who has a passion for minerals and nature. She began collecting minerals after attending a mineral show in Seattle and became hooked, eventually becoming a stakeholder in three quartz claims. During the pandemic lockdown, Johnston focused on producing mineral portraits using pastels, charcoal, pen, and paint. Her artwork has been featured in shows and she has also created mineral-related products such as art prints, stickers, and vinyl graphic shirts. Johnston's work can be viewed on her website and she can be contacted via email. [Extracted from the article]

The article focuses on the success of Spanish painter Joaquin Sorolla at the 1900 Universal Exposition in Paris, particularly his acclaimed work "Triste Herencia" (Sad Inheritance!), which won multiple awards, and a 2022 exhibition in Milan, "Master of Light," aimed at reintroducing the artist to the public by showcasing his diverse works featuring light, water, and children.

This psychobiography of Frida Kahlo explores the psychology of the famous Mexican artist. Drawing upon Kahlo's paintings and diary entries, a rich psychological analysis of the feminist icon is juxtaposed with the zeitgeist of 20th century Mexico. Framed through the theoretical model of feminist psychology, Kahlo's role in promoting gender equality and dismantling patriarchal society is discussed. Physical pain resulting from illness and impalement by a metal pole in a trolley accident was matched, if not exceeded, by the psychological pain the artist felt due to resulting issues with fertility and the long-sought but never-realized role of motherhood, infidelity within her marriage, and the eventual loss of her ability to paint. Nevertheless, Kahlo's perseverance and strength led to worldwide recognition of her bold and vibrant paintings, vulnerably depicting her rich inner world. The present study utilises perspectives from art therapy and attachment theory to elucidate the factors contributing to Frida Kahlo's resilience in the face of lifelong trauma and chronic pain. Ultimately, Kahlo's life and work offer valuable insight into the psychological experiences of women in patriarchal societies, emphasising the importance of feminist perspectives in psychological research and highlighting the healing and resilience-promoting role of art. [ABSTRACT FROM AUTHOR]

Previous research in western countries shows that artists whose work deviates from their own previous style (intrapersonal deviance) and other artists' styles (interpersonal deviance) gain greater impact than nondeviant artists (Stamkou et al., 2018). However, aesthetic norms are embedded in cultural contexts that shape the meaning of artist deviance. Deviance is compatible with the ideal of innovation endorsed by loose cultures, yet incongruent with the ideal of conformity prominent in tight cultures. Here we examine how cultural tightness–looseness influences the effect of interpersonal (Studies 1–2) and intrapersonal deviance (Studies 3–4) on various indices of impact, including perceived artist influence, artwork valuation, purchase intention, and recommendation of the artist's work to a museum. Study 1 shows that Italian participants (looser culture) perceived artists who deviated from the motif used by their contemporary artists as more impactful than Chinese participants (tighter culture). Study 2 shows that the looser U.S. communities' response to COVID-19 rules, the more impactful they considered deviant artists. Study 3 shows that U.S. participants low in tightness mindset were more likely to recommend artists who deviated from their previous style to a company than artists who consistently followed a single style. Accordingly, Study 4 shows that U.S. participants high in tightness mindset were more likely to recommend nondeviant over deviant artworks to a museum. Cultural tightness attenuates the effect of deviance on impact by reducing the experience of profound aesthetic emotions (e.g., awe, beauty, interest) in response to deviant artworks (Studies 2–4). [ABSTRACT FROM AUTHOR]