scholarly journals Ectoplastic Art Therapy as a Genre of Contemporary Art

Arts ◽  
2019 ◽  
Vol 8 (4) ◽  
pp. 134
Author(s):  
Peter Tzanev
Keyword(s):  
Art Therapy ◽  
20Th Century ◽  
Contemporary Art ◽  
Medical Psychology ◽  
Self Presentation ◽  
Institutional Settings ◽  
Automatic Writing ◽  
Experimental Project ◽  
Contemporary Artist ◽  
Art Therapist

Art therapy is the successor of “psychological Modernism”, which during the late 19th and early 20th centuries included medical psychology as well as theories and practices related to more speculative practices of hypnosis, somnambulism, interpretation of dreams, automatic writing and spiritualism. Art therapy emerged in the second half of the 20th century as a new psychological genre and, the author argues, a new kind of art that offered the opportunity for psychological “salvation” in a “psychological society”. This article explores an experimental project called “Ectoplastic Art Therapy” begun in 2002 by the author as a form of therapy and as a form of contemporary art. This therapy has been performed in various institutional settings, such as therapeutic centers, museums and galleries, as well as educational seminars and courses. Focusing on the usual marginalization that accompanies conventional art therapy within the established framework of the contemporary art system, this article examines the situations in which an art therapist could present his practice as a contemporary artist. The author prompts questions concerning the possible kinds of self-presentation that can be found in art therapy as a form of contemporary art.

Contemporary Art Therapy with Adolescents

2001 ◽  
Vol 28 (4) ◽  
pp. 266-268
Author(s):  
Gail Elkin–Scott
Keyword(s):  
Art Therapy ◽  
Contemporary Art

Supportive care with art therapy, for patients in isolation during stem cell transplant

2012 ◽  
Vol 10 (2) ◽  
pp. 91-98 ◽  
Author(s):  
Alessandra Agnese ◽  
Teresa Lamparelli ◽  
Andrea Bacigalupo ◽  
Paola Luzzatto
Keyword(s):  
Stem Cell ◽  
Art Therapy ◽  
Stem Cell Transplant ◽  
Hemopoietic Stem Cell ◽  
Cell Transplant ◽  
Self Assessment ◽  
Specific Factors ◽  
Meaningful Connections ◽  
Art Therapist ◽  
Made In

AbstractObjective:The aim of the art therapy study was twofold: 1) to identify the specific factors of the art therapy experience perceived as helpful by patients undergoing an allogenic hemopoietic stem cell transplant (HSCT); and 2) to establish an appropriate criterion for referral to art therapy among this population.Method:Between 2006 and 2010, a dedicated art therapist met all the patients who were referred to her by the hematologist. The art therapy approach and techniques are described. Outcome was evaluated by self-assessment, based on written questionnaires that were given to the patients before discharge.Results:Seventy-four patients followed the weekly individual sessions during isolation and filled out the questionnaire. All of them defined the art therapy experience as “helpful” and specified in which way it had been helpful. Through a thematic analysis of the patients' written comments, three specific aspects of art therapy, which the patients found most helpful, were identified: (1) being able to calm down from anxiety, through the use of art therapy techniques (77.02%); (2) feeling free to express and share difficult feelings, which they had not communicated verbally (75.67%); and (3) establishing meaningful connections with their loved ones, through images made in art therapy (36.48%). Case illustrations are provided.Significance of results:The results suggest that referral to art therapy from the team might be helpful and appropriate: (1) when patients are anxious; (2) when they are uncommunicative and hide their feelings; and (3) when they feel disconnected from their loved ones at home.

scholarly journals A wider study of contemporary art based on Mikel Diez Alaba´s Mínimos series

2017 ◽  
Vol 11 ◽  
pp. 237-242
Author(s):  
Irene Cárdaba-López ◽  
Iraia Anthonisen Añabeitia
Keyword(s):  
Contemporary Art ◽  
Fine Arts ◽  
Natural Heritage ◽  
Acrylic Paint ◽  
Museum Of Fine Arts ◽  
Contemporary Artist ◽  
Working Method ◽  
New Strategies

This research is based on the work of the Basque contemporary artist Mikel Diez Alaba and his series called Mínimos, which gathers up to 144 small size pieces made out of acrylic paint applied on printed images. This collection was displayed on the Museum of Fine Arts of Bilbao during 2014. The main objective of this paper is to reach a more integral conception of conservation –based on the latest theories regarding heritage-, focusing on material aspects and the conceptual characteristics of the artwork, alike. Thereby, the working method in Mínimos series has been analyzed, as well as the presence of elements linked to the natural heritage. All this, taken together allows the establishment of new strategies towards the conservation of contemporary artworks.

scholarly journals Avant-Garde Children’s Magazines and Newspapers of the 1920s – 1930s in Siberia

2019 ◽  
Vol 14 (2) ◽  
pp. 84-105
Author(s):  
Ksenia V. Abramova
Keyword(s):  
20Th Century ◽  
Children And Youth ◽  
Children's Books ◽  
Self Presentation ◽  
Avant Garde ◽  
Black And White ◽  
Children's Magazines ◽  
New Type ◽  
The Times ◽  
Design Techniques

The purpose of this article is to analyze the magazines and newspapers for children and youth issued on the territory of Siberia in 1920s – 1930s. A great many children’s books were issued that years, moreover, the approach to design of that books and to the contents of writings for children changed significantly: the topics had to be actual, associated with the construction of the new society. At the same time, exactly in children’s press in 1920s, the new principles of book graphics were formed. There are a large number of magazines and newspapers aimed at youth audiences were published in Siberia in the 1920s and 1930s, but they did not have a long history. Some of them appeared only once or twice, after that they closed. But all the more interesting is the study of these rare publications as experiments that influenced how the Soviet children’s and youth magazine was formed. Viewing magazines and newspapers allows you to observe how the rubrication and the genre system of Soviet publications for children evolved, as well as identify trends that have become a definite “sign of the times”. The article explores archive materials and examines the contents of printed issues, peculiarities of the approaches to the inner composition of the material and design techniques, discovers the features of the “Soviet avant-garde” development in children’s and youth periodicals. It indicates that the majority of the Siberian Children’s and youth magazines issued within that period has demonstrated a strongly demonstrated ideological overtone, claiming its purpose raising the new type of human and orientation on the “iterature of fact”. The article covers the peculiarities of the illustration techniques in Siberian post-revolutionary magazines. The article marks that up to the mid – late 1920s, the children’s and youth periodicals design became composed of such elements as insets, plane drawings based on a contrast combination of black and white, photography and photographic compilation. Furthermore, it describes a number of self-presentation techniques, developed exactly by the avant-garde art. As can be seen from the above, it can be stated that Siberian children’s and youth journalism acquired the avant-garde trends of the first third of the 20th century, however, they haven’t been gradually and fully realized.

Huang Yong Ping and the Power of Zoomorphic Ambiguity

2016 ◽  
Author(s):  
Kristina Kleutghen
Keyword(s):  
Human Nature ◽  
Contemporary Art ◽  
One To One ◽  
Contemporary Artist ◽  
French Citizen

Born in China but now a French citizen, the contemporary artist Huang Yong Ping (b. 1954) prioritizes the contradictions and ambiguities that arise from overlapping motifs that signify differently in different cultural settings. Juxtapositions of Chinese and Western zoomorphic symbolism characterize his work since the mid-1990s, seen across diverse pairings and groupings as well as strange hybrid single creatures. Rather than resolving the disjunctions that arise from these works, however, the shape-shifting nature of Huang’s animals emphasizes their polysemy and the profound lack of one-to-one symbolic correspondence in global contemporary art. The power of his zoomorphic works derives from his comfort with ambiguity: although often derived from Chinese ideas, Huang’s works are globally applicable in their complexity of transnational experience and their reflection of human nature as both instinctual and rational.

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