This article presents a conceptual model of the labour of visual art developed from the analysis of qualitative data collected from interviews with professional visual artists in Western Australia. The labour discussed relates to the exertions of artists to make places for themselves and their practices within the field of cultural production. It is what Bourdieu has described as a ‘specific labour’ in relation to milieu. Drawing on Florian Znaniecki’s philosophical and sociological work as a means of engaging with the multidimensional cultural values involved, this study found that the interviewed artists laboured across four realms of cultural production. Artists laboured in order to (1) define their practices, (2) create the conditions under which they can continue to practice, (3) attract validations of their practices and artistic identities and all the while they actively laboured to (4) maintain their integrity as an important creative and social resource. These four realms of production are integrated in a dynamic system where artists’ efforts in each impact on and influences the products of the others. Over the course of this article, it will be argued that the labour of professional visual art practice can be, and must be, understood across a number of dimensions and systems of cultural values.

This Keynote offers a brief overview of an artistic and activist editorial project based in São Paulo City, the magazine O Menelick 2° Ato, as well as presents a portrait of some Black contemporary women artists, some of them interdisciplinary, and articulates modes of interrogating political and symbolic violence and subjugation from Brazilian colonially, creating an artistic presence rooted in the search for self-determination, autonomy, and modes of existence ignited by Black diasporas’ ways of self-writing. Their creative work also disrupts hegemonic epistemologies and calls us to look at what is going on in the Black South America.

The visual arts have played an increasingly important role in examining and critiquing past and present human activities in Antarctica as governed by the Antarctic Treaty and its Protocol on Environmental protection. This paper analyses the work of six artists who have contributed to this scrutiny, awakening us to fabrications and helping to enrich Antarctic cultures beyond the scientific and the environmental. It encourages all signatory nations to the Antarctic Treaty System to embrace and empower a more diverse artistic engagement with Antarctica and suggests that artists find new ways to address threats to the Antarctic, whether they come from within and from without.

This qualitative study explores the experiences of older adults participating in a creative visual arts program at a residential care facility in Victoria, British Columbia. A narrative inquiry approach was used to conduct face-to-face interviews with 10 residents and three program staff in addition to the systematic observations of program activities and an arts exhibit. The findings reveal the program fostered a sense of community among participants and enhanced their sense of self-worth as artists. A public art exhibition at a community centre underlined the value of residents’ artwork and gave meaning and purpose to their involvement in the program. Findings show the importance of arts programs in fostering creativity in later life and illustrate how people living in institutions can experience multiple dimensions of the self through artistic forms of expression. This study highlights the need to increase access to arts programs for individuals living in residential care.

A common goal of ethics education is to equip students who later become health practitioners to not only know about the ethical principles guiding their practice, but to also autonomously recognize when and how these principles might apply and assist these future practitioners in providing care for patients and families. This article aims to contribute to discussions about ethics education pedagogy and teaching, by presenting and evaluating the use of the visual arts as an educational approach designed to facilitate students’ moral imagination and independent critical thinking about ethics in clinical practice. We describe a sequence of ethics education strategies over a 3 year Doctor of Physiotherapy program, focusing on the final year professional ethics assessment task, which involved the use of visual arts to stimulate the exploration of ethics in healthcare. The data (in the form of student essays about their chosen artwork) were analyzed using both thematic and content analysis. Two key themes centered on emotional responses and lateral thinking. The use of artwork appeared to facilitate imaginative, emotional, and conceptual thinking about ethics and clinical experience (both past and future). This study provides some evidence to support the effectiveness of the use of the visual arts in promoting students’ recognition of ethical dimensions within their clinical experience and reflection on their emerging professional identity. As one student noted, she left the museum “somewhat changed.”

Focusing on material culture, this article considers a range of issues concerning the cultural policies, ideologies, and identities that have underlain Serbian development since the Middle Ages, and tests some widely held yet previously uncontested views. In particular it questions the Serbs' perceived affiliation with the Byzantine Empire and challenges the view that this affiliation was so pervasive that it influenced Serbian development and national formation in the modern age. It is argued that Byzantium had little if any role in the Serbs' cultural development - neither in historical memories nor in surviving traditions. Serbia's Byzantine culture is largely a myth developed in the 1930s by the Serbian clergy as a corollary of the Russian-inspired Svetosavlje ideology. This myth was meant to dislocate Serbia's cultural identity from its secular European sources and reposition it closer to Orthodox Russia.

This essay examines changes in apparatuses of visual and performing arts, taking as an example a museum presentation of Trisha Brown's project Floor of the Forest. The ontology of both the work of art and the dance exhibited in the museum, where presence and absence interact, is explored against criteria of temporality and theatricality. The position of the recipient is a focus of particular attention, undergoing transformations between the status of visitor (beholder) and audience (spectator) and as such actively involved in bringing forth art as such. Furthermore it is proposed, in particular in this example, that the interrelationships between recipients and actors or art objects can generate haunting choreographies which emphasize the indeterminate nature and progressive disintegration of artistic genres and attempt to intertwine divergent modes of presence in visual and performing arts.

We present a 10 day-long astronomical discovery class for children from 10 up to 12 years old. “Classical” workshops dealing with constellations, sky maps, sundiala, rocket construction and launching, Sun and deep sky observations are proposed to children. In addition, we present our own workshops that can be achieved by children as research projects in a scientific, literary or in an artistic way. In this context, the rôle of astronomy is both educational and social for children. Scientific rudiments are passed on from scientific educators to pupils and from pupils to their families. Astronomy is an unifying science for everyone.