Effect of COVID-19 on Socio-economic Status of Entrepreneurs Engaged in Mithila painting

Mithila painting is a business or source of income of the artist around the Mahbubani district of northern Bihar. Livelihood of these people depend on this painting but during COVID-19 pandemic these artists faced many troubles because all shops were closed due to the lockdown and tourists could not visit here, so it worstly affected their selling of products. The socioeconomic status of entrepreneur is combination of economic and sociology that measure total work experience of an individual or whole family income and social position in community. High socioeconomic status enhances the social standing of entrepreneur in community. The activity of entrepreneur depends on economic, social and psychological factors. A structured questionnaire method was used for collection information from Mithila’s painting professional artist and specialist. The study was carried out in Madhubani district of Bihar. For the analysis, a total of 60 samples of female were taken from 2 blocks i.e. Rahika and Rajnagar of Madhubani district. Results of the research investigation are showed that Majority of respondents have significant changed in their family occupation, ownership of fixed assets, farm assets and annual income between before and during crisis. Finding revealed that Majority (83.33%) of respondents diverted Mithila painting in mask making during pandemic crisis for employment generation

Tyra Kleen

The Swedish artist and writer Tyra Kleen (1874–1951) was a professional artist and a constant traveller who had a great interest in different religious questions. This article describes her Symbolist artistry, her interest in Theosophy and her journeys to India and Asia.

Ocena skutków regulacji poselskiego projektu ustawy o statusie artysty zawodowego

The author discusses the basic assumptions of the planned regulation of the professional artist’s status in Polish legal system, including: the establishment of the Polish Chamber of Artists, the rules and method of confirming and verifying the status of a professional artist, and defining the rights of these artists. The author states that in order to achieve the ratio legis of the Bill, the regulations of the act should guarantee the full independence, impartiality of the Chamber’s activities and the possession of expert competences by the members of the Council of the Polish Chamber of Artists.

Ammattitaiteilijuus ja kirjailijana olemisen ehdot muunkielisten kirjailijoiden näkökulmasta

In this article I describe the results of a questionnaire survey done on non-dominant language writers in Finland, and reflect this on the criteria by which a professional artist has been traditionally defined in Finland. The background data consists of reports and studies on artists' social standing conducted by Arts Promotion Center Finland, Cupore and the Finnish Writers' Union. There were 31 responses to the study from non-dominant language residents of Finland who identify themselves as writers. Among these writers, the most often mentioned factor to define a professional writer were published works. Published works have also been central when a professional artist / writer has been defined in the Finnish art support system since its beginning in the late 1960's and early 1970's, and indirectly they are important also when professionalism is defined through memberships of trade unions, grants, main income source etc. as in all these evaluation in based on work that has been approved as part of the art world, i. e published by a publishing house. According to this reflection, the Finnish way of defining a professional writer to a great extent excludes writers who are unable to publish their work on paper through commercial publishing houses, let alone in Finnish or Swedish. This is the case with most writers with refugee, assylum seeker or voluntary exile background, or writers who come from countries with a different publishing industry from the Finnish model, or whose audiences are spread in all parts of the globe; instead, they publish online for political, financial, or practical reasons. My article strengthens the argument that the Finnish institutionalist way of defining a professional artist needs to be modified, especially on the level of institutional practises, to meet the reality of a quickly multilingualized society.

The creative work of Grigory Gurkin and Vasily Sheshunov as students of Ivan Shishkin

The article contains a comparative analysis of the work of two artist-students of I.I. Shishkin: Grigory Gurkin (Altai) and Vasily Sheshunov (Far East). Both painters went through the school of the great Russian landscape painter at the Imperial Academy of Arts in St. Petersburg. Grigory Gurkin became one of the most significant masters of Russian realistic landscape in the first third of the 20th century, the first professional artist of Altai. Vasily Sheshunov had an equally significant influence on the formation of the artistic life of Ussuriisk and the entire Primorye. In the context of the continuity of Ivan Shishkin's art school, the genre-thematic originality, artistic manner, and creative method of these two masters are compared for the first time. The material for the study was the paintings of artists from the collections of the Sukachev Irkutsk Regional Art Museum, the Primorye State Art Gallery, the State Art Museum of the Altai Krai, the Tomsk Regional Art Museum. Статья посвящена сравнительному анализу творчества двух художников-учеников И.И. Шишкина: алтайского — Г.И. Гуркина и дальневосточного — В.Г. Шешунова. Оба живописца прошли школу великого русского художника-пейзажиста в Императорской Академии художеств в Санкт-Петербурге. Григорий Иванович Гуркин стал одним из самых значительных мастеров русского реалистического пейзажа первой трети XX века, первым профессиональным художником Алтая. Василий Григорьевич Шешунов оказал столь же существенное влияние на становление художественной жизни Уссурийска и всего Приморья. В контексте преемственности художественной школы И.И. Шишкина жанрово-тематическое своеобразие, художественная манера, творческий метод этих двух мастеров сравниваются впервые. Материалом для исследования послужили живописные полотна художников из собраний Иркутского областного художественного музея им. В.П. Сукачева, Приморской государственной картинной галереи, Государственного художественного музея Алтайского края, Томского областного художественного музея.

“Disability Grief”: A patient’s allegorical expression of her disability

Multiple sclerosis (MS) is an autoimmune disabling disease of the central nervous system, and can lead to a wide range of symptoms. Although the most common form of MS is relapsing-remitting, most of the patients also will develop disability in the future due to the natural course of the disease.1,2 The disease onset mostly occurs in 27 years of age.3 Therefore, considering the symptoms and complications of the disease, it can virtually affect the whole life of the patient. Unfortunately, there is not any accurate study of the opinions of patients with MS regarding their illness. However, in the daily work of treatment, one of the well-known cases of severe discomfort expressed by patients is the fear of future disability. This issue is aggravated when a person starts to lose abilities. When the patient experiences disability in walking and a decrease in his/her daily activities, thinking about the future becomes one of his/her major concerns. Most patients express these concerns in their visits. However, a patient who has other abilities such as poetry, writing a story, or painting, can more effectively portray concerns. The painting reported here is the allegorical view of a patient about her disability. The patient is a 37-year-old woman who has had MS for 15 years. Her illness started with the right eye optic neuritis. She has had six attacks during this period and, after 9 years, her disease entered the secondary progressive phase. Her symptom in this stage was the weakness of the right lower extremity, which was gradually deteriorating such as difficulty in walking. Now, she is unable to walk without help. This disability has affected all aspects of her life, and has greatly diminished her quality of life. She has been interested in drawing since childhood, and has drawn as a non-professional artist. One of her paintings reported here (Figure 1), according to the patient herself, reflects her perception and grief over her progressive disability. She believes that she should say goodbye to her ability and good days of the past. She painted herself as someone (when she could walk unrestrictedly) moving away along with a balloon

The Junior Theatre Festival and Broadway Junior

Since 2003, more than four thousand middle school–aged children and their teachers and directors have gathered in Atlanta, Georgia, each January during Martin Luther King Jr. weekend to celebrate musical theatre at the Junior Theatre Festival (JTF). Produced by iTheatrics (the company that adapts Broadway musicals for kids), Playbill, and Music Theatre International, the convention features ninety school or community groups who present a fifteen-minute segment from a show that they rehearsed or performed at home for professional artist adjudicators’ immediate feedback. The weekend also includes performance workshops for kids and producing workshops for adults, a showcase of musical numbers from new shows, and an elaborate distribution of awards, during which almost every group is publicly recognized. Fueled by progressive language and democratic affirmations, JTF is unabashedly profit-driven, since MTI licenses the very repertoire of musicals that the children perform. The kids who attend JTF find affirmation and community in an intense, emotion-filled weekend that celebrates musical theatre. JTF combines crass commercialism and heartfelt outreach in a seamless, exuberant event.

Trends and Anti-Trends in Techno-Art Scholarship: The Legacy of the Arts “Machine” Special Issues

With the goal of casting a spotlight on the posture of the creative community at this crucial moment in human technological history, we present herein a thematic overview of the 23 articles published in the recent Arts Special Issues “The Machine as Art (in the 20th Century)” and “The Machine as Artist (for the 21st Century)”. Surprisingly, several of the themes that had been suggested in our two introductory essays as representing shared and positive points of departure—in particular, (a) the visual arts as a longstanding touchstone of human culture, (b) the visual arts (with the example of John James Audubon) as having a unique ability to rally the public to the environmental cause, and (c) computer and robotic proficiency in the arts as leading to a friendlier artificial intelligence—received less than the expected amount of attention. Instead, it was another of the suggested themes (albeit also of a positive and forward-looking nature) around which our authors coalesced, as expressed in the following phrase: the “vast expansion of the creative sphere” which technology has made possible, or in other words, the idea that technology is not only providing new horizons for the professional artist but is also providing new avenues for the non-professional to discover his or her creative potential. In light, furthermore, of the marked enthusiasm for this theme, we suggest in our conclusion the need for a corresponding expansion of the venues available to both professional and non-professional techno-art practitioners.

Music, the Arts, and Healing

The goal of this chapter is to demonstrate the ability to create opportunities to use the arts to heal. The author has included three narratives, both his personal story as a professional artist, a non-clinical practitioner, and those of his students. These narratives illustrate the effect of the arts on individuals dealing with trauma and poverty. Time and time again, as indicated in these narratives, the arts can be called on to provide respite and relief from fear, anxiety, and hurting. The arts are a touchstone that can be revisited throughout a lifespan regardless of age or stage or even circumstance.