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The article "Embedding the Unconscious in the Conscious: John Ashbery’s Sestina 'The Painter' Revisited" by Huixin Zhang explores John Ashbery's sestina "The Painter" from his debut collection "Some Trees." The article delves into how Ashbery's conscious artistry can absorb the philosophy of unconscious artistic creation through the structure of the sestina form. By analyzing the interrelatedness of the end words in the poem, the article argues that the seemingly rigid sestina form actually offers flexibility for the speaker to express inner thoughts. Ashbery's deliberate use of the sestina form reflects his engagement with Surrealism and the interplay between conscious and unconscious elements in artistic creation. [Extracted from the article]

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

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

The article discusses a document titled 'Some Modern Tendencies in English Art' found in the Apollinaire Collection, with uncertain authorship. It explores the document's content, speculates on its authorship, and reprints it for the first time. The document discusses various English artists, including those associated with the Rebel Art Centre and Vorticists, shedding light on the complex relationships between avant-garde artists in England and France before World War I. The author's identity is analyzed based on the document's content, suggesting a nuanced perspective on English art and its place in the European avant-garde scene. [Extracted from the article]

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

In the history of Mongolian art, the beginning of modern painting is considered in connection with the "First Exhibition of Young Artists" in 1968. Although social-realist paintings developed at the beginning of the 20th century in line with the policies of the party and government, the colors and patterns of some artists' paintings were expressed with new thinking. In Mongolia, the development of modern art has been rapidly developing in recent years in the fields of Cubism, Impressionism, Surrealism, Abstract, and Expressionism, and dozens of works have been created. During this period, the artists and artists of our country kept pace with the global changes and innovations in the field of art studies, created new types of works of modern art, and continued to learn and develop new methods of theory and practice. Since 1990, Mongolia has transitioned from a centrally planned economic system to a market economic system, and individual ideals and freedom have increased not only in the industrial sector but also in the field of painting, and the direction of modern painting has begun to develop rapidly since then. In line with this, in addition to the public access to modern artworks, the need to read, understand, and explain their meaning and content has increased. Moreover, since 1990, the award for the best works of the year of the "Mongolian Art Gallery" has been won by works created in the genre of modern art, which indicates that this genre of art has taken a significant place in the history of Mongolian visual arts. Although modern paintings are being created in large numbers, there is a lack of research that evaluates and analyzes them from the point of view of art studies. In the works of some researchers, the subject of Mongolian modern painting became secondary research and was limited to mention, which is the reason for us to selectively study this topic. The purpose of the research is to analyze the development and classification of modern art of the late 20th and early 21st centuries, which are stored in art galleries. This study aims to create a trend of modernism or monalism that reflects Mongolian traditional thinking. [ABSTRACT FROM AUTHOR]

This article explores the paintings of American artist John Twachtman during his visit to Yellowstone National Park in 1895. Twachtman's works captured the beauty of the park and were praised for their modernity and aesthetic qualities. The article also discusses the significance of the locations depicted in Twachtman's paintings and their connection to the conservation movement of the time. Overall, Twachtman's paintings serve as a reminder of the importance of appreciating and protecting the natural world. [Extracted from the article]

В статье представлен аналитический обзор международного пленэра «Солнечная палитра Востока» в 2024 году в Нарынской области Кыргызстана. Этот крупный культурный проект организуется ежегодно с 2011 года общественным фондом «Арт-Араба» и его руководителем Д.Ж. Алышбаевой при поддержке Международного фонда гуманитарного сотрудничества государств-участников Содружества Независимых Государств. В этом году в нем приняли участие около пятидесяти человек из разных стран. Результатом пленэра стала выставка в зале Союза художников Бишкека, на которой было показано несколько десятков работ, выполненных в разных жанрах живописи и графики. Авторы статьи, используя методы включенного наблюдения и искусствоведческого анализа, ставят перед собой задачу зафиксировать это значимое для международной художественной жизни событие, дать ему оценку и проанализировать наиболее важные творческие достижения участников пленэра.

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

The article aims “Aegean Sea” by Frederic Edwin Church, one of the leading painters of 19th century America. Why an American painter painted such a painting in the 19th century and the reason or reasons behind it were tried to be discussed in the article. During his lifetime, Church was popular and successful painter in the United States. As a young artist, Church's initial training in painting came through an apprenticeship with American painter Thomas Cole, who is considered the father of the Hudson River School. Church traveled to far-flung places to sketch grandiose scenes unfamiliar to American audiences, transforming them into dramatic, large-scale paintings. These travels enabled Church to produce important and numerous paintings for a number of wealthy patrons, including prominent American industrialists and financiers of the period, such as Hartford native Timothy Mather Allyn, J. Pierpont Morgan, and arms manufacturer Elizabeth Hart Jarvis Colt. [ABSTRACT FROM AUTHOR]

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

Indigenous peoples' right to control representations of their own culture and heritage is unquestionable, but in the case of tourism activities other stakeholders' understandings come into play. The nation-state is still an important organizational foundation for tourism. For the Indigenous Sámi people, who are located in four different nation-states, national destination management organizations (DMOs) have a crucial role in how their culture and traditions are represented. The current study examines the content of Visit Norway and Visit Sweden's visual marketing of indigenous Sámi tourism products. Using content analysis to sort electronic images and related texts, categories distinguishing natural, human, and other types of relevant symbols were created. The marketing strategies of both countries reinforce the traditional connection of the Sámi people to nature and their reindeer. Visit Sweden uses a distinct notion of what we call the artification of the Sámi, where young female artists contribute to the modern image of this indigenous people. Visit Norway continues to use more stereotypical representations of the Sámi, with a focus on colourful outfits and traditional buildings. Thus, tourism marketing continues to reinforce simplified images of the indigenous populations of the Arctic and their relation to the nation-state. [ABSTRACT FROM AUTHOR]

The National Gallery in London recently held two exhibitions, one on Frans Hals and the other on Francesco di Stefano, also known as Pesellino. The Pesellino exhibition showcased eight works, including two recently restored paintings. Pesellino's career was often overshadowed by his association with his grandfather, but the exhibition aimed to shed light on his talent as a draughtsman and his connections to the Medici family. The article focuses on two specific pieces, highlighting Pesellino's skill and attention to detail, as well as exploring their possible meanings and contexts. It concludes by discussing Pesellino's career and influence on later Florentine artists. [Extracted from the article]

Background: Despite increased focus on adolescence, young people's voices are often undervalued and underrepresented in health inequalities research and policy. Through exploring young people's priorities for their health and their community, we may begin to understand how public health interventions and policies can be more effective and equitable. Engaging with youth using art enables empowerment and self-expression on these complex topics. Methods: Creative workshops, co-produced with a young artist, were delivered at three youth centres to participants aged 11–18 years (n = 30) in disadvantaged areas of Bristol, UK. Participants engaged in art and were guided by a semi-structured topic guide through focus group discussion. Thematic analysis, supported by the young artist, was used to distil key policy priorities for young people to be delivered to the local authority. Results: The young people identified a list of key priorities. These were: (1) mental health, (2) feeling 'forgotten' as an age group and having safe city spaces to socialise, (3) the need for greater support for their education and career aspirations. I provide a brief summary of these priorities, but the focus of this article is on the critical reflections on this innovative way of engaging with young people about local policy. I provide key learning points for researchers looking to do creative public health work in community settings and involve marginalised young people. Conclusions: Art is a promising way of engaging with young people in community settings and elevating marginalised voices. Co-producing with a local young artist enriched the project and partially alleviated power imbalances. This approach has potential for involving different groups within local policymaking and priority setting around health inequalities. Plain English summary: This article talks about a project that was done in Bristol, UK. The project used art to help young people open up about local issues and about their health. The project involved workshops which took place in community centres and youth clubs, with a young artist leading the workshops. This article is less about what young people told us in those workshops and more about the process we went through, what the pros and cons of the study are and what other researchers can learn. The key lessons were: (1) art helps young people talk about complex and sensitive topics, (2) working with a local young artist helps young people open up and (3) it is important to work with people like youth workers and outreach workers when working in the community so we can make sure all young people have a chance at sharing their views and experiences. [ABSTRACT FROM AUTHOR]

As a descriptive study, this article examines the significance of stylistic analysis in observing fiction, focusing on the use of foreshadowing. The author investigates the potential overuse of foreshadowing in selected modern cultural novels and analyses its impact on the plot and the suspense of the readers. The study examines the use of foreshadowing to deconstruct the difficulty novelists face in crafting immaculate works. It concludes that foreshadowing is an integral part of any literary work, regardless of its type or genre, and that it cannot be restricted to particular words. Furthermore, the "tense" factor in most modern works is not fixed or regulated due to the overuse of the flashback technique. The discussion examines Mr. Dalloway by Virginia Woolf and A Portrait of the Artist as a Young Man by James Joyce. Mrs. Dalloway's linguistic variables demonstrate that foreshadowing predominates the plot, as Woolf's foreshadowing lexis continually alludes to Septimus and Clarissa's plight. A Portrait of the Artist as a Young Man heavily uses concrete lexemes to foreshadow Daedalus‘ evolution, whereas Mrs. Dalloway focuses on speech and abstract lexemes. [ABSTRACT FROM AUTHOR]

The project KopiaKollektiva was created in Havadtõ/Viforoasa, Romania by young artists from different domains as a project dedicated to the possibilities of village people to access contemporary culture. Visual culture (photography 126 and film) is central in the activity of the association, and workshops, exhibitions organized in everyday locations, usually non-cultural spaces, offer new possibilities to enlarge the scope of contemporary culture. Zoltán Balla and Emõke Kerekes, the founders of the association offer a detailed description of their vision in the reportage dedicated to their activity. [ABSTRACT FROM AUTHOR]

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The final issue of the Journal of Australian Studies showcases a diverse range of articles. One article explores the influence of queer Australian artists in London from 1930 to 1961, highlighting their connections with the British art scene. Another article challenges the perception of the Angry Penguins as purveyors of Australian surrealism, arguing that they were actually advocating for the internationalization of Australian cultural identity. The dress practices of attendees at the Melbourne Cup in the 1970s are examined, showing how they challenged social norms and contributed to changing approaches to gender and social decorum. The dominant narratives of the Australian New Wave are reevaluated, suggesting that state funding allowed filmmakers to produce radical, antinationalist films. The multimedia project "The Legend of Molly Johnson" by Leah Purcell is analyzed as a form of adaptation and identity-making, with a focus on the intersectional critique of mainstream White feminism. The cultural significance of the British flag within the Australian national flag is critically examined, highlighting its role in reinforcing White privilege. School sports houses are explored as examples of banal nationalism, reinforcing Australianness through the tradition of school athletics and swimming carnivals. The negotiation of places with complex colonial pasts is discussed, using the Flinders Ranges as a case study to examine settler-colonial histories and postcolonial histories of place. [Extracted from the article]

Delving into the realm of how machine learning is being used to make art, Matias del Campo interviews Munich‐based artist Mario Klingemann, who shares with us his modus operandi and aspirations for this new discipline. His work is at once uncanny, defamiliarising and estranging, and not without a hint of bodily violence – a kind of reverse butchery, an assault on the figure by the machine. [ABSTRACT FROM AUTHOR]

The popularity of martial arts in the present times has become apparent, therefore, it is necessary to explore martial artists' preferences and the schools' competitiveness. The purpose of this study was to assess martial artists' preferences concerning the services offered by martial arts schools. Conjoint analysis was utilized to analyze the responses of fifty-five (55) martial artists based on the seven (7) martial arts schools' attributes. The results showed that the type of martial arts was found to be the most important attribute (30.449%) followed by distance (27.970%), price range (22.706%), social environment (11.097%), class preference (5.080%), goal (1.562%), and schedule (1.135%). Furthermore, Muay Thai or Kickboxing was the most preferred martial art, Mixed Martial Arts (MMA) was the second priority, next was Taekwondo, then Karate, and finally Boxing. In addition, the martial artists' preferred distance was less than 8 km, and a monthly training cost of 150,000 to 450,000 IDR (10 to 20 USD). Martial artists liked attending open classes, treated martial arts as a hobby, and favored attending classes once or twice weekly. With the lack of conjoint-related studies in the martial arts industry, the findings contributed to academicians and addressed issues of inadequate studies. Most importantly, the researchers presented managerial implications to leverage marketing techniques and develop the business operations of martial arts schools. [ABSTRACT FROM AUTHOR]

The article discusses the Bentvueghels, a group of Netherlandish artists who formed in Rome in the 17th century. The group was known for its unconventional and boisterous activities, such as mock baptisms and public inebriation. While the group has been traditionally seen as existing in opposition to the Italian establishment, recent scholarship has focused on their role as a sociocultural and professional network for Netherlandish artists in Rome. The article also discusses an exhibition in Utrecht that aimed to showcase the diversity and breadth of work produced by the Bentvueghels, but raises questions about the group's identity and its relationship to the city of Utrecht. [Extracted from the article]

This article critically examines the construction of the artistic identity and career of Ai-Da, 'the world's first ultra-realistic humanoid robot artist'. Engaging with scholarship on posthumanism and creative assemblages, and creative work, identity and expertise, this article conceptualises Ai-Da's distinctive positioning and focuses on the practices used to construct a creative worker identity and career. The article uses qualitative content analysis to examine journalistic coverage, promotional and presentation activities, exhibitions and performances, and social media postings over a four-year period from Ai-Da's first launch to international visibility. The analysis shows how Ai-Da is positioned as a high-profile, border crossing artist, engaging in debates about Artificial Intelligence (AI), art, and the environment. It considers the creative assemblage of Ai-Da as a humanoid robot artist, the creator Aidan Meller and the team working with him, and the wider contextual factors of aesthetic expertise, networks and knowledge of art worlds which have shaped Ai-Da's artistic identity and career trajectory. The focus on how Ai-Da signals expertise on social media helps to frame the specific techniques used to speak about and for Ai-Da on social media platforms and wider media coverage. This includes articulating inspiration, showcasing artistic processes and cultivating audience relationships. In concluding, the implications of connecting critical perspectives on creative work with developments in art, AI and robot artists are explored: firstly, for understanding how the practices for constructing an artistic identity shape the development of robot artists; secondly, for understanding how developments in art and AI can frame reflections on artistic identity and careers. [ABSTRACT FROM AUTHOR]