Journal articles: 'Trinidad (Group of artists)'

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Ferris, Lesley. "THE CHALLENGES OF ARCHIVING AND RESEARCHING CARNIVAL ART." Theatre Survey 50, no. 1 (April 22, 2009): 127–34. http://dx.doi.org/10.1017/s0040557409000106.

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The fact that live performance is unrepeatable is both its greatest attribute and a constant worry to theatre historians. How is it possible to study an art form that is fleeting, short-lived, ephemeral? Nowhere is the challenge more acute than with Carnival, a popular art form that comes from the grassroots and is acknowledged as an art of resistance. Initiated by newly emancipated Africans in British colonies in 1834, Caribbean-derived Carnival struggled against endless confrontations with governmental authorities for its survival. In 1962, when Trinidad and Tobago achieved independence from Britain, the country's first prime minister, Eric Eustace Williams, recognized Carnival as the national art form. Despite this recognition, Carnival artists continue to struggle because of lack of funding, misrepresentation in the press, and lack of appropriate credit for their role as artists. So it is particularly gratifying to find the National Library of Trinidad and Tobago leading the way by making the work of Carnival artists available digitally on its Web site. This essay examines this new online resource and considers issues related to studying and researching Carnival.

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Cole, Thomas B. "Group of Artists." JAMA 307, no. 7 (February 15, 2012): 642. http://dx.doi.org/10.1001/jama.2012.99.

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Molloy, Molly. "Book Review: Field Recordings of Black Singers and Musicians: An Annotated Discography of Artists from West Africa, the Caribbean and the Eastern and Southern United States, 1901–1943." Reference & User Services Quarterly 58, no. 3 (June 22, 2019): 194. http://dx.doi.org/10.5860/rusq.58.3.7057.

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This last work of author/compiler Craig Martin Gibbs joins his other unique discographies from the same publisher—Black Recording Artists, 1877–1926: An Annotated Discography (2012) and Calypso and Other Music of Trinidad, 1912–1962: An Annotated Discography (2015)—to provide detailed access to the legacy of African American and African music from the earliest years of sound recording. As noted in the front matter, Craig Martin Gibbs died in October 2017.

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Green, Alison. "Citizen Artists: Group Material." Afterall: A Journal of Art, Context and Enquiry 26 (January 2011): 17–25. http://dx.doi.org/10.1086/659292.

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Sturken, Marita. "Women Artists’ Group Fights Discrimination." Afterimage 25, no. 6 (May 1998): 5. http://dx.doi.org/10.1525/aft.1998.25.6.5.

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Fowler, Joan. "Women Artists Action Group Seminar." Circa, no. 41 (1988): 26. http://dx.doi.org/10.2307/25557339.

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Cummins, Pauline. "The women artists action group." Women's Studies International Forum 11, no. 4 (January 1988): 403–4. http://dx.doi.org/10.1016/0277-5395(88)90093-3.

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Simpson, A. J. H., and S. R. Heard. "Group B streptococcal carriage during pregnancy in Trinidad." Journal of Hospital Infection 29, no. 2 (February 1995): 156–57. http://dx.doi.org/10.1016/0195-6701(95)90199-x.

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Rawstrone, Annette. "We've explored…artists." Nursery World 2024, no. 2 (February 2, 2024): 28–29. http://dx.doi.org/10.12968/nuwa.2024.2.28.

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Kostova-Panayotova, Magdalena. "In a Free State (V.S. Naipaul’s Half a Life)." Balkanistic Forum 29, no. 3 (November 1, 2020): 57–69. http://dx.doi.org/10.37708/bf.swu.v29i3.2.

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This text’s title makes a reference both to Vidiadhar Surajprasad Naipaul’s eponymous work and to the meaning contained in the English phrase “in a free state”, the latter being directly implicated in one of the difficult questions regarding this artists: where does Naipaul belong (1932 - 2018) – is he an English, an Indian or a Trinidadian author, or is he one to whom such categorizations do not apply because in the course of his life he came to embody the very idea of the artist’s being “in a free state”. However appealing it might be to assume the latter idea, his works as well as the many debates surrounding them actually question this freedom. Because the Trinidad born future Nobel laureate (the name of the city is evocative of the Holy Trinity), had at least three homes, even though his attitude to his “homelands” was a controversial one and even though he articulated his own identity controversially and not in one go. In his Nobel lecture Naipaul suggested that the credit for the Nobel Prize should go to England where his home was, and to India, where the home of his predecessors was, but he did not emphasize the significance of Trinidad where he had been born and had grown up.

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WAINWRIGHT, LEON. "Americocentrism and Art of the Caribbean: Contours of a Time–Space Logic." Journal of American Studies 47, no. 2 (April 17, 2013): 417–38. http://dx.doi.org/10.1017/s0021875813000145.

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Art of the transnational Caribbean has come to be positioned by an understanding of the African diaspora that is oriented to an American “centre,” a situation to be explored for what it reveals about the hegemonic status of the United States in the discipline of contemporary art history. The predominant uses of the diaspora concept both in art-historical narratives and in curatorial spaces are those that connect to United States-based realities, with little pertinence to a strictly transnational theorization. This has implications for how modern art and contemporary art are thought about in relation to the Caribbean and its diaspora, in a way that this article demonstrates with attention to a number of artists at multiple sites, in Trinidad, Guyana, Britain and America.

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COCK, MATTHEW J. W., and RODOLPHE ROUGERIE. "Gamelia bennetti sp. nov., a new Saturniidae species from Trinidad and Tobago (Lepidoptera: Bombycoidea)." Zootaxa 4942, no. 3 (March 15, 2021): 339–50. http://dx.doi.org/10.11646/zootaxa.4942.3.2.

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Gamelia bennetti sp. nov. is described from Trinidad, Trinidad and Tobago, West Indies, and compared with members of the Gamelia abas species group: G. abas (Cramer, [1775]), G. berliozi Lemaire, 1967, G. lichyi Lemaire, 1973, G. rubriluna (Walker, 1862) and G. septentrionalis (Bouvier, 1936). A photographic record suggests G. bennetti sp. nov. may also occur in Tobago.

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Dullea, Karen. "Changing the lens: Reflections on social education/practice in Trinidad and Tobago." International Social Work 61, no. 3 (August 22, 2017): 335–40. http://dx.doi.org/10.1177/0020872817725141.

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This short piece draws on interviews with social work professionals, academics, and Master’s students in or associated with the social work program, University of the West Indies, Trinidad. The focus of the research based on 14 2- to 3-hour dialogic unstructured interviews and a short focus group (before class) with Master’s students was ‘What is social work in Trinidad and Tobago?’.

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Rampersad, Sephra N. "Genetic Structure of Colletotrichum gloeosporioides sensu lato Isolates Infecting Papaya Inferred by Multilocus ISSR Markers." Phytopathology® 103, no. 2 (February 2013): 182–89. http://dx.doi.org/10.1094/phyto-07-12-0160-r.

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Colletotrichum gloeosporioides sensu lato is widely distributed throughout temperate and tropical regions and causes anthracnose disease in numerous plant species. Development of effective disease management strategies is dependent on, among other factors, an understanding of pathogen genetic diversity and population stratification at the intraspecific level. For 132 isolates of C. gloeosporioides sensu lato collected from papaya in Trinidad, inter-simple-sequence repeat-polymerase chain reaction (ISSR-PCR) generated 121 polymorphic loci from five ISSR primers selected from an initial screen of 22 ISSR primers. The mean percentage of polymorphic loci was 99.18%. Bayesian cluster analysis inferred three genetic subpopulations, where group 1 consisted exclusively of isolates collected in the southern part of Trinidad whereas groups 2 and 3, although genetically distinct, were mixtures of isolates collected from both the northern and southern parts of Trinidad. Principal coordinates analysis and unweighted pair-group method with arithmetic mean phylogeny were concordant with Bayesian cluster analysis and supported subdivision into the three subpopulations. Overall, the total mean gene diversity was 0.279, the mean within-population gene diversity was 0.2161, and genetic differentiation for the Trinidad population was 0.225. Regionally, northern isolates had a lower gene diversity compared with southern isolates. Nei's gene diversity was highest for group 1 (h = 0.231), followed by group 2 (h = 0.215) and group 3 (h = 0.202). Genotypic diversity was at or near maximum for all three subpopulations after clone correction. Pairwise estimates of differentiation indicated high and significant genetic differentiation among the inferred subpopulations (Weir's θ of 0.212 to 0.325). Pairwise comparisons among subpopulations suggested restricted gene flow between groups 1 and 2 and groups 1 and 3 but not between groups 2 and 3. The null hypothesis of random mating was rejected for all three inferred subpopulations. These results suggest that pathogen biology and epidemiology as well as certain evolutionary factors may play an important role in population substructuring of C. gloeosporioides sensu lato isolates infecting papaya in Trinidad.

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Butler, Allison. "Earthworks: Visual Artists for the Earth Group." Leonardo 20, no. 2 (1987): 205. http://dx.doi.org/10.2307/1578353.

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Nelson, Glen. "Mormon Artists Group: Adventures in Art Making." Dialogue: A Journal of Mormon Thought 39, no. 3 (October 1, 2006): 115–24. http://dx.doi.org/10.2307/45227285.

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Bell, Joanna. "THE PRIVY COUNCIL AND THE DOCTRINE OF LEGITIMATE EXPECTATIONS MEET AGAIN." Cambridge Law Journal 75, no. 3 (November 2016): 449–52. http://dx.doi.org/10.1017/s0008197316000684.

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UNITED Policyholder Group v Attorney General for Trinidad and Tobago [2016] UKPC 17 provided the Privy Council with its second opportunity in recent years to consider the doctrine of legitimate expectations (the first being Paponette v Attorney General of Trinidad and Tobago [2010] UKPC 32; [2012] 1 A.C. 1). The appellants were a group of individuals who held policies in a company known as the Colonial Life Insurance Company (CLICO). On learning in 2009 that CLICO was in serious financial difficulty, the then Government of Trinidad and Tobago had publicly issued a number of assurances to the effect that it would undertake a vast restructuring programme in order to ensure that CLICO's contractual liabilities to such policyholders were fulfilled. Following its election in 2010, the new Government changed direction; it found that CLICO's financial difficulties were much graver than had been originally anticipated and, accordingly, determined that the Government would take a different course with the consequence that CLICO's liabilities would be fulfilled to a less generous degree than originally represented.

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Hutchinson, Gerard, Hubert Daisley, Donald Simeon, Verrol Simmonds, Manohar Shetty, and David Lynn. "High Rates of Paraquat‐Induced Suicide in Southern Trinidad." Suicide and Life-Threatening Behavior 29, no. 2 (June 1999): 186–91. http://dx.doi.org/10.1111/j.1943-278x.1999.tb01055.x.

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The suicide rate in Trinidad and Tobago is much greater than that of its English‐speaking Caribbean neighbors. Many of these suicides are paraquat induced. This research reviewed the deaths due to suicide in the area with the greatest agricultural activity in Trinidad for 1996 and identified, for further demographic and etiological investigation, cases in which paraquat was ingested as the agent of suicide. Of 48 cases of suicide for the year, 39 (81.3%) were due to paraquat poisoning. The incidence of paraquat‐induced suicide was 8.0 per 100,000. Among the males, 47.8% were in the age group 25–34 (p < 0.001), and among the females 50.0% were in the 15–24 age group (p < 0.05). Family‐of‐origin disputes were the most frequently cited precipitant, followed by marital problems. Individuals of East Indian origin accounted for 89% of the suicide victims (p < 0.001). When compared with suicide by other methods in the country, these findings confirm that paraquat poisoning is a significant means of suicide in Trinidad and that young East Indian individuals are particularly vulnerable.

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Zaynutdinova, Zukhra. "ACTIVITY OF THE GROUP OF ARTISTS "5 + 1" IN CONCEPTUAL ART." CURRENT RESEARCH JOURNAL OF HISTORY 02, no. 12 (December 1, 2021): 6–12. http://dx.doi.org/10.37547/history-crjh-02-12-02.

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The article examines the role and significance of the "5 + 1" group in the development of contemporary art in Uzbekistan in the context of the creativity of the group's artists. The ideas and aesthetics of paintings, installations, video art in the work of individual artists are revealed in detail.

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Salim Anan, Haidar. "SIX-CHAMBERED VOLUTION OF THE MAASTRICHTIAN PLANKTIC FORAMINIFERAL PLUMMERITA SPECIES IN THE TETHYS." Geosciences Research Journal 1, no. 1 (2023): 25–27. http://dx.doi.org/10.26480/gsrj.01.2023.25.27.

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Brönnimann (1952), from Trinidad, was distinguished the last six-chambered volition of the genus Rugoglobigerina (R. reicheli, R. pustulata, R. hexacamerata) as a separate group from another last five-chambered volition with spine-like prolongation of ultimate and penultimate chambers Plummerita hantkeninoides group (P. hantkeninoides, P. costata, P. inflata). Later on, the Rugoglobigerina reicheli specimen belongs to the genus Plummerita due to its spine-like prolongation of ultimate and penultimate chambers, while the other two species R. hexacamerata and R. pustulata don’t have these distinguished characters of the genus Plummerita. In this study, added to P. reicheli of Brönnimann, three new species of the planktic foraminiferal assemblage of six-chamber volution of the Plummerita reicheli group are presented: Plummerita reicheli (Trinidad), P. caribbeanica (Porto Rico). P. spainica (Spain) and P. tunisica (Tunisia).

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Russell, Will G., and Michelle Hegmon. "Identifying Mimbres Artists." Advances in Archaeological Practice 3, no. 4 (November 2015): 358–77. http://dx.doi.org/10.7183/2326-3768.3.4.358.

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AbstractPast researchers have identified individual styles of painting in Mimbres Black-on-white bowls, leading Steven LeBlanc to recently call for the development of quantitative methods to enable and assess such identifications. We propose such a methodology here. Through a process of pair-wise, micro-stylistic comparisons, bowls painted by a single artist or group of closely cooperating artists are analytically linked in chain-like fashion. Two bowls are attributed to the “same hands” if their similarity measure is at or above 70 percent. Similarity measures are determined by comparing minute details that reflect artistic decisions. The method takes into account diachronic development of artistic skill, subject matter diversity, and the transfer of style across generations. Results can contribute to an understanding of stylistic development, craft specialization, and the role of artists in traditional societies.

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Feser, Frauke. "The visiting artist researcher experiment." Journal of Science Communication 14, no. 01 (March 31, 2015): C02. http://dx.doi.org/10.22323/2.14010302.

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The visiting artist researcher experiment discussed here brought together visual artists and climate scientists, amongst them my research group which studies storms. The artists’ stay led to a dialogue between our diverging perspectives and an open exchange of ideas. The exchange in my research group was more interactive than I had expected. Many conversations provided insights into ideas and work flows of the artists and, eventually, a new view on our storm studies.

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Bowen-Chang, Portia, and Yacoob Hosein. "Continuing professional development of academic librarians in Trinidad and Tobago." Global Knowledge, Memory and Communication 68, no. 1/2 (February 4, 2019): 93–111. http://dx.doi.org/10.1108/gkmc-08-2018-0072.

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PurposeThis study aims to present a detailed investigation into the approaches of academic librarians in Trinidad and Tobago in pursuing continuing professional development (CPD) activities. The paper also examines the extent of their participation in CPD at both the institutional and external levels in contributing to the development of their careers.Design/methodology/approachThe instrument used was a questionnaire which assesses the effectiveness of the librarians in their involvement in and attitude toward CPD activities.FindingsThe paper demonstrates the active role and willingness of academic librarians in Trinidad and Tobago in providing and participating in CPD training and support to library and information personnel at both the national and international levels.Originality/valueThe paper underscores the effectiveness of a group of academic librarians in Trinidad and Tobago who pursue and provide a high level of CPD activities to professionals.

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Dalip, Andrew. "Intelligence and Risks Posed by Corruption." Journal of Intelligence, Conflict, and Warfare 3, no. 3 (March 17, 2021): 120–24. http://dx.doi.org/10.21810/jicw.v3i3.2774.

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On November 26, 2020, Andrew Dalip presented at the 2020 CASIS West Coast Security Conference, where he spoke about intelligence and corruption. This presentation was followed by a group panel for questions and answers, whereby conference attendees were provided with an opportunity to engage in discussion with Mr. Dalip and other panel presenters for that day. Primary discussion topics included operational concerns for security in Trinidad and Tobago, corruption related to lack of due diligence and reporting, and the limitations for COVID-19 preparation that resulted from corruption in Trinidad and Tobago.

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PONSSA, MARÍA LAURA, MICHAEL J. JOWERS, and RAFAEL O. DE SÁ. "Osteology, natural history notes, and phylogenetic relationships of the poorly known Caribbean frog Leptodactylus nesiotus (Anura, Leptodactylidae)." Zootaxa 2646, no. 1 (October 14, 2010): 1. http://dx.doi.org/10.11646/zootaxa.2646.1.1.

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The Leptodactylus melanonotus group consists of 15 species, but references to skeletal characters are available for only three species: L. leptodactyloides, L. melanonotus, and L. diedrus. Leptodactylus nesiotus is a member of the melanonotus group known only from the type locality, Bonasse swamp, on the Southwestern peninsula of Trinidad, Trinidad and Tobago. This species has been categorized as vulnerable given its restricted distribution. Herein, we report the adult osteology of L. nesiotus, the skeletal characters are compared with the available data from other Leptodactylus species. A phylogenetic analysis recovers a paraphyletic L. melanonotus group relative to the L. latrans group. A monophyletic “latrans-melanonotus” clade is supported by five synapomorphies. L. nesiotus is recovered as the sister species of L. validus, a relationship supported by two synapomorphies: T-shaped terminal phalanges and a dark-colored stripe on the outer surface of arm. In addition, we report on the ecology of this poorly known species.

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Hanrahan, Stephanie J. "Sport Psychology and Indigenous Performing Artists." Sport Psychologist 18, no. 1 (March 2004): 60–74. http://dx.doi.org/10.1123/tsp.18.1.60.

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A group of students from the Aboriginal Centre for the Performing Arts participated in a mental skills training program that focused on goal setting, self-confidence development, and team building. There were 13 two-hour sessions held over a 20-week period. The participants, cultural issues, and the basic structure of the program are described. The author’s observations regarding competition, displays of affection, collective values, and the importance of family and nature are provided. The participants qualitatively evaluated the program. Conclusions related to group process, program structure, and diversity are presented. These conclusions should be of value in terms of shaping future group mental skills training programs.

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Murray-Mendes, Savannah, Anastasia Raquel Martinez, and Katie L. Hackett. "Identifying Occupational Therapy Research Priorities in Trinidad and Tobago: A Group Concept Mapping Study." Occupational Therapy International 2021 (October 12, 2021): 1–13. http://dx.doi.org/10.1155/2021/9970566.

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In Trinidad and Tobago, occupational therapy is an emerging profession with limitations in the number of practitioners and the scope of practice. With the development of a new Master of Science Occupational Therapy programme in the country, the profession is continuously growing. There has been an increased demand for culturally relevant research to build the occupational therapy evidence base locally. However, the narrow range of occupational therapy literature in the country makes it difficult to highlight research gaps and decipher what research areas should be prioritised to best impact occupational therapy practice at present. This group concept mapping study is aimed at identifying priority areas for occupational therapy research in Trinidad and Tobago from the perspectives of occupational therapy students and practitioners. Participants brainstormed and contributed specific research ideas they would like to see developed in the country. Individually, participants sorted these ideas into themes and rated each idea based on perceived importance and feasibility. Using the GroupWisdom™ software, multidimensional scaling and hierarchical cluster analyses were applied to the sort data to create idea clusters within a concept map. Rating values were analysed to determine priority research themes within the concept map. The resulting concept map illustrated seven research priorities: Contextualising Practitioner Development, The Realities of Emerging OT Practice, Localising Mental Health OT, Occupation and Participation of Children and Youth, School-based OT in the Local Context, OT with Special Populations, and OT Contributions to the Public Health Sector. These findings represent the research needs of the occupational therapy profession in Trinidad and Tobago and will help to focus future researchers’ efforts to expand the local evidence base.

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Francis, Gladys M. "Performing while Black: Disrupting Gender and Sexuality from Trinidad to Norway—The Artivism of Thomas Prestø." Diaspora: A Journal of Transnational Studies 21, no. 2 (September 1, 2021): 279–96. http://dx.doi.org/10.3138/diaspora.21.2.2021.05.14.2.

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In this interview, artistic director and choreographer Thomas Prestø speaks with cultural studies scholar Dr. Gladys M. Francis about his personal journey as a hyper visible Black boy growing up in a Norwegian region known as a hub for neo-Nazi groups. Subjected to various forms of torture, Prestø discusses how his experiences shaped his politics of arts when he founded the Tabanka Dance Company to promote “a sustainable Black identity” that converges both Caribbean and African movement esthetics to tell the stories of Blacks in Norway. Prestø presents how his body of work informs Black diaspora studies in terms of art and culture through issues of minority identities, body-memory, body-politics, and political and cultural agency relating to Black performances and cultures in Norway. He discusses principles on “Caribfuturism” and corporealities within what he calls “the uniqueness of the Afropean, the Afro-Scandinavian and the poly-Diasporan.” His insights on the prejudiced mechanisms of representation and segmentation of cultures visible in Norway also convey how his artistic productions offer challenging esthetics and representations of gender and sexuality for performing Brown and Black artists. The following segments were gathered during his 2018 dance fellowship in Dakar, Senegal, my scholar appointment in Norway in 2019, and follow up discussions in spring 2021.

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Gosine, Andil. "Everything Slackens in a Wreck." Small Axe: A Caribbean Journal of Criticism 26, no. 2 (July 1, 2022): 119–43. http://dx.doi.org/10.1215/07990537-9901696.

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This is a curatorial essay in which the author explains his research and process for the conception and production of everything slackens in a wreck, a visual arts exhibition running at the Ford Foundation Gallery in New York from June to September 2022. Gosine elaborates his thinking about the title of the exhibition, which is taken from a Khal Torabully poem, and explains the relevance of and his intrigue with the four artists whose works comprise the exhibition: Wendy Nanan (Trinidad and Tobago), Margaret Chen (Jamaica/Canada), Andrea Chung (Jamaica/United States), and Kelly Sinnapah Mary (Guadeloupe). Each of the four women is a descendant of indentured workers who traveled to the Caribbean in the late nineteenth and early twentieth centuries, and for each this history is a reference point in her practice. Gosine proposes a consideration of the Americas as a consequence of three wreckages: the ship landings of European colonizers and the arriving ships of enslaved and, later, indentured peoples.

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Lake, Susan. "The Challenge of Preserving Modern Art: A Technical Investigation of Paints Used in Selected Works by Willem de Kooning and Jackson Pollock." MRS Bulletin 26, no. 1 (January 2001): 56–60. http://dx.doi.org/10.1557/mrs2001.20.

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Willem de Kooning (1904–1997) and Jackson Pollock (1912–1956) are perhaps the best-known members of the abstract expressionist movement, a group of diverse artists from disparate backgrounds who radically transformed American art during the 1940s and into the 1950s. While the development and legacy of abstract expressionism remains a subject of considerable debate, what this diverse group of artists had in common was the belief that the materials, and the ways the artists applied them, are crucial to the expression of their art.

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Vašíčková, Kateřina, Andrea Mikotová, and Lucie Šilerová. "Stress in Music Managers and Artists: Pilot study on Czech and Slovak Students." Zeitschrift für Kulturmanagement 4, no. 1 (May 1, 2018): 133–44. http://dx.doi.org/10.14361/zkmm-2018-0108.

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AbstractThe aim of the presented study was to do a pilot research on the comparison of the incidence of stress in a group of students of music management and art of music. We examined whether artists and music managers differ in the perception of the intensity of stress when playing (working) solo from the intensity when playing (working) in group. Furthermore, we focused on the most common stressors and main stress symptoms among music managers and artists. Total 63 students of music, cultural or art management (average age 28.6 years; 69.8 % were women) and 75 students of art of music (average age 26.7 years; 64 % were women) filled out an online questionnaire in the spring of 2016. The results show that while artists reported higher stress levels when playing solo, music managers reported higher stress levels when working in a group. A closer look showed that while only a few music managers (4,8 %) are intensely stressed when working in a team, a considerable group of artists (26 %) stated that they were most stressed out when playing solo. As their main work stressors artists mentioned blackouts, unpreparedness, and audience, music managers listed flaws in the human factor, time pressure and financial problems. Stress symptoms among artists are mainly physiological and short-term but at the same time intensive, while stress symptoms among music managers are rather long-term and related to psyche, and relationships with others.

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Winestein, Anna. "Artists at Play." Experiment 25, no. 1 (September 30, 2019): 328–45. http://dx.doi.org/10.1163/2211730x-12341346.

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Abstract The exhibition of Russian folk art at the Paris “Salon d’Automne” of 1913 has been generally overlooked in scholarship on folk art, overshadowed by the “All-Russian Kustar Exhibitions” and the Moscow avant-garde gallery shows of the same year. This article examines the contributions of its curator, Natalia Erenburg, and the project’s instigator, Iakov Tugendkhold, who wrote the catalogue essay and headed the committee—both of whom were artists who became critics, historians, and collectors. The article elucidates the show’s rationale and selection of exhibits, the critical response to it and its legacy. It also discusses the artistic circles of Russian Paris in which the project originated, particularly the Académie russe. Finally, it examines the project in the context of earlier efforts to present Russian folk art in Paris, and shows how it—and Russian folk art as a source and object of collecting and display—brought together artists, collectors, and scholars from the ranks of the Mir iskusstva [World of Art] group, as well as the younger avant-gardists, and allowed them to engage Parisian and European audiences with their own ideas and artworks.

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Stack. "Gender and Suicide Risk Among Artists: A Multivariate Analysis." Suicide and Life-Threatening Behavior 26, no. 4 (December 1996): 374–79. http://dx.doi.org/10.1111/j.1943-278x.1996.tb00841.x.

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Research on mental disorders among male artists has suggested that artists are at risk of suicide. However, given that men are higher in suicide risk than women, the presumed suicide risk of artists may be an artifact of sampling bias. A logistic regression analysis of data from 21 states finds that artists have a 270% higher risk of suicide than nonartists. However, after controlling for gender and sociodemographic variables, this risk level is reduced to 125%. The findings are related to both psychiatric and work‐related stress factors that may place artists at risk of suicide as an occupational group.

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Głaz, Stanisław. "Relationship of Personality Traits and Hope With Job Satisfaction in the Life of Polish Artists and Pedagogues." Journal for Perspectives of Economic Political and Social Integration 28, no. 2 (January 25, 2023): 89–120. http://dx.doi.org/10.18290/pepsi-2022-0009.

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The purpose of this paper was to show the relationship between personality traits and hope, as well as the job satisfaction in the lives of artists and pedagogues (teachers). The research was conducted among artists and pedagogues living and working in Poland. Research tools such as: Job Satisfaction (SSP) by Zalewska, Personality Inventory (NEO-FFI) by Costa and McCrae, and the Hope Scale (HS) by Snyder were used. The obtained results show that extraversion correlates significantly and positively with job satisfaction, while neuroticism – negatively – in the group of pedagogues. Agency correlates significantly and positively with job satisfaction in the group artists and pedagogues. Result of multiple regression analysis reveals that agency and pathways have a statistically significant and positive relationship with job satisfaction in the group of artists and pedagogues. Extraversion and neuroticism have a statistically significant relationship with job satisfaction in the group of pedagogues. Extraversion has a positive relationship with job satisfaction and neuroticism negative. In addition, extraversion and neuroticism have a significant impact on job satisfaction in the group of pedagogues, where the function of the mediator is fulfilled by hope.

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Moss, Anne Eakin, Niloofar Haeri, and Narges Bajoghli. "Legacies of Protest Art in Iran." Public Culture 36, no. 2 (May 1, 2024): 153–79. http://dx.doi.org/10.1215/08992363-11158958.

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Abstract This article examines the art practice of a group of professors and students—who later came to be known as Group 57—at the Fine Arts College of the University of Tehran during the revolutionary period of 1978 to 1980. Through interviews with artists and art historical research, the authors describe the artists’ workshop where they produced posters against the Shah, the United States, and imperialism. Their posters drew on the bold colors, clear text, symbolic imagery, and easy reproducibility of international radical poster art and the early Russian revolutionary avant-garde. The authors recover these aesthetic and intellectual connections in the academic and professional training of the artists and in the art historical context of the posters themselves, examining the posters’ recent and more distant influences, and reinscribing the artists in the history of Iranian art and international art history. The authors also point toward connections between Group 57 and protest art in Iran today.

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Ardelt, Monika, and Lucinda Orwoll. "DOES AGE AFFECT CREATIVE PROCESS AND STYLE? A COMPARISON OF OLDER AND YOUNGER VISUAL ARTISTS." Innovation in Aging 3, Supplement_1 (November 2019): S417—S418. http://dx.doi.org/10.1093/geroni/igz038.1558.

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Abstract This study investigated differences in the creative process and style between 85 older (age 60-89 years, M=72.39) and 63 younger (age 27-58 years, M=41.95) visual artists who were nominated as artistically creative exemplars. Answers to open-ended survey questions were coded and compared by age group. Results of t-tests showed that the described creative process and style were similar for older and younger artists, with many being inspired by their environment or ideas and engaging in an intuitive and visual style. However, younger artists were more likely than older artists to be inspired by ideas, words, life, and the work process and to use an intuitive, expressionistic, eclectic, spiritual, and textured style. Interestingly, younger artists were more likely to believe that older artists have greater artistic experience, maturity, willingness to take risks, and understanding of the art world, whereas older artists tended to think that young artists are more original.

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Ilyasova, R. I. "Artistic Design in Soviet Tatarstan on the Example of “Group No. 17”." Art & Culture Studies, no. 1 (March 2024): 326–49. http://dx.doi.org/10.51678/2226-0072-2024-1-326-349.

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The article is devoted to a little-studied page of the late Soviet art of Tatarstan: the activity of design artists of the 1970s-1990s — “Group No. 17” (E. Golubtsov, V. Nesterenko, A. Leukhin, O. Boyko, R. Safiullin, V. Vyaznikov, and A. Yakupov), whose works represented the characteristic features of the technical aesthetics of the Senezh studio. The purpose of the article is to identify the context and facts related to the creative activity of the participants of this association, outline their range of interests, and study their projects. The first part of the article analyses the activities of the Senezh studio and its influence on the formation of young artists, those of Tatarstan in particular. The second part of the article presents the history of the emergence of the “Group No. 17” creative association in Kazan, its composition, forms and principles of operation. The third part of the article is devoted to the creative heritage of the design artists. For the first time, an attempt is made to generalize and systematize both realized and unrealized projects of the association, some of which are characterized. The author of the article investigates the main approaches and the nature of the Tatarstan design artists’ creative activity and highlights the originality and value of the group’s design projects, which brought the world-class high aesthetics to the masses.

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Ittu, Gudrun-Liane. "Siebenbürgisch-deutsche Künstlerinnen vom Ende des 19. und Anfang des 20. Jahrhunderts." Studia Universitatis Babeș-Bolyai Historia Artium 65, no. 1 (December 31, 2020): 127–55. http://dx.doi.org/10.24193/subbhistart.2020.07.

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"Transylvanian German women artists from the end of the 19th and beginning of the 20th century. The paper is aiming at analyzing the life and art of a group of six German women artists from Transylvania, the first ones who studied abroad, real forerunners for the next generation of female plastic artists. Emancipated ladies, determined to become artists and earn their own money, the gifted women studied in Budapest, Vienna, Munich or Paris. Only Molly Marlin did not come back home, while the others had a prodigious artistic and pedagogical activity, being present at the annual exhibitions, together with well-known male colleagues. Keywords: art academies, women artists, painters, graphic artists, art teachers, exhibitions, Sibiu, Betty Schuller, Hermine Hufnagel, Molly Marlin Horn, Anna Dörschlag, Lotte Goldschmidt, Mathilde Berner Roth "

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Styrna, Natasza. "Malarki, rzeźbiarki i graficzki z krakowskiego Zrzeszenia Żydowskich Artystów (1931–1939)." Studia Judaica, no. 2 (48) (2021): 407–35. http://dx.doi.org/10.4467/24500100stj.21.017.15072.

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Painters, Sculptors and Graphic Female Artists From the Kraków Association of Jewish Artists, 1931–1939 Eleven women belonged to the Kraków Association of Jewish Artists, active in the 1930s. They dealt with painting, graphic art and sculpture. Unfortunately, not much has survived from their achievements. One of the most interesting artistic personalities in this group was Henryka Kernerówna, educated in Vienna. From 1918 on, female artists younger than her could benefit from studies at the Academy of Fine Arts in Kraków. In the reviews of the exhibitions of the Association, the gender of artists was rarely mentioned, except in some cases. The artists also belonged to other non-Jewish art groups. Most of them survived the war, but none of them remained in Kraków. Three of them were killed.

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Jee, Sangbaum, and Sungah Ahn. "Analysis of Social Network and Performance of High-Income Artists." Korean Society of Culture and Convergence 45, no. 7 (July 31, 2023): 299–310. http://dx.doi.org/10.33645/cnc.2023.07.45.07.299.

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This study is the first research to derive a social network activity index based on the career factors of the top 50 artists and analyze its relationship with transaction performance. The analysis results indicate that personal network centrality among artists has the most significant impact on transaction performance, followed by the importance of group network centrality. Additionally, the study categorizes artists into three clusters based on their careers: major and awards, education and number of solo exhibitions, and whether they studied abroad and social experience. These clusters demonstrate differences in transaction performance and social network characteristics. This study validates the importance of social networks that influence the transaction performance of visual artists, particularly by examining the network characteristics more closely by distinguishing between individual networks among artists and organization networks involving artists.

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Jones, Vanessa, Naomi Modeste, Helen Hopp Marshak, and Curtis Fox. "The Effect of HIV/AIDS Education on Adolescents in Trinidad and Tobago." ISRN Infectious Diseases 2013 (January 31, 2013): 1–8. http://dx.doi.org/10.5402/2013/691054.

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Objective. This study was conducted to determine the effectiveness of an HIV/AIDS educational intervention on adolescents’ knowledge about and perceptions of susceptibility and severity of HIV/AIDS. We also examined whether providing information about assertiveness skills led to an intention to delay initiation of sexual activity. Methods. A quasi-experimental design was used to conduct this study among secondary school students in Trinidad and Tobago. The five constructs of the Health Belief Model were used to design and test the impact of the educational lessons for the intervention group while the comparison group watched one educational video about HIV over four sessions. A total of 196 secondary school students (from nine schools) between the ages of 11 and 18 years participated in the study, 92 in the intervention group and 104 in the comparison group. Results. Those in the comparison group had higher knowledge scores at posttest than the intervention group, controlling for pretest knowledge (), but those in the intervention group were more likely to plan to delay sexual initiation (). Conclusions. While knowledge scores increased for both groups, intention to delay sexual intercourse was only seen among the intervention group and within the younger age groups.

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Grube, Katherine. "Labouring bodies: Big Tail Elephants in 1990s Guangzhou." Journal of Contemporary Chinese Art 7, no. 2-3 (December 1, 2020): 201–19. http://dx.doi.org/10.1386/jcca_00026_1.

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Big Tail Elephant Working Group (daweixiang gongzuo zu, hereafter BTE) is synonymous with the city of Guangzhou and the surrounding Pearl River Delta. Formed in 1991, the group is most closely associated with the artists Chen Shaoxiong (1962–2016), Liang Juhui (1959–2006), Lin Yilin (1964–) and Xu Tan (1957–). This article re-examines BTE artists’ practice from 1991 to 1994 and argues that the artist’s performing body provides the critical lens through which to understand BTE artists’ work during this time. Acknowledging that the experience of BTE’s work was primarily physical, embodied and performative allows for an important reconsideration of not only their works but also the predominant ways in which the global capitalist ‘turn’ in the 1990’s China has been discussed in art historical writing. This article argues that BTE artists were primarily interested in urban forms for what they signified about commercialization as a form of a new political rationality after 1989 and suggests that BTE artists were ultimately concerned with commodification’s transformation of society and of ideas of cultural value.

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Okeke, C. "The Sensitive Line: Seven artists of the nsukka group." Nka Journal of Contemporary African Art 1998, no. 8 (March 1, 1998): 54–57. http://dx.doi.org/10.1215/10757163-8-1-54.

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Robinson, Susan. "Paintings of Fluorite from a Select Group of Artists." Rocks & Minerals 88, no. 1 (January 2013): 66–71. http://dx.doi.org/10.1080/00357529.2013.747918.

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Borowska, Marta. "Wystawy Związku Plastyków Pomorskich i Grupy Plastyków Pomorskich w Muzeum Miejskim w Bydgoszczy w latach 1930–1936." Porta Aurea, no. 17 (November 27, 2018): 133–61. http://dx.doi.org/10.26881/porta.2018.17.06.

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The displays of particular artistic associations in the Municipal Museum in Bydgoszcz between 1930 and 1936 are being discussed. The history of Pomeranian artistic associations is not a well-known subject, and no dedicated monographs have been written to date. It appears commonly in the history of the regional chapter of the Polish Association of Visual Artists (Związek Polskich Artystów Plastyków) located in Bydgoszcz. The basic sources include the Archive of the Leon Wyczółkowski District Museum in Bydgoszcz and information contained in Polish press of the period in question. There were two main goals to be achieved for the Pomeranian artists: while aspiring to equal the art represented by more important artistic centres of the country, to show a close connection with their own region and its Polish heritage. During the interwar period, a number of artistic organisations appeared in Bydgoszcz. The most significant were the local branch of the Society for the Encouragement of the Fine Arts (Towarzystwo Zachęty Sztuk Pięknych), established in September 1921, and the Artistic and Cultural Council (Rada Artystyczno-Kulturalna), founded in December 1934. The first exhibition of the Pomeranian Association of Visual Artists (Związek Plastyków Pomorskich) was opened in December 1930 as a summary of the Association’s achievements of that year. It comprised 92 works by 15 artists. Subsequent exhibitions in December 1931 and December 1932 served a similar purpose. The turning point in the history of Pomeranian artistic associations took place in 1933 when – as a result of an internal conflict – the Group of Pomeranian Visual Artists (Grupa Plastyków Pomorskich) was formed. The Group quickly became the leading artistic force of the region, with their first exhibition opening in December 1933. The 4th annual exhibition of the Group of Pomeranian Visual Artists took place in December 1934, simultaneously with the founding of the Artistic and Cultural Council (Rada Artystyczno-Kulturalna) in Bydgoszcz. The Council coordinated, implemented, and documented artistic movements in specially dedicated sections for literature, music, visual arts and radio, quickly becoming an intermediary between artists and their audience. Tanks to their efforts, the first Salon Bydgoski exhibition was organised in 1936. That very year the Group of Pomeranian Visual Artists changed their name to the Group of Visual Artists of Bydgoszcz. Both organizations lacked a well-defined artistic programme, whereas their members were mainly connected for non-artistic motivations, such as the possibility to exhibit their works in well-known institutions or prestige. All of the discussed displays were widely covered in the local press, especially by Henryk Kuminek and Marian Turwid, two leading art critics of the region.

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Sandberg, Berit. "Art Hacking for Business Innovation: An Exploratory Case Study on Applied Artistic Strategies." Journal of Open Innovation: Technology, Market, and Complexity 5, no. 1 (March 14, 2019): 20. http://dx.doi.org/10.3390/joitmc5010020.

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Despite a growing interest in the effects of arts-based interventions on organizational change, concepts aiming at business innovation and product development other than residencies are rare. Furthermore, little is known about the role and impact of artists involved in idea-generating formats. How does the personal presence of artists in a heterogenous working group influence the procedure? To what extent do artists unfold their creative qualities while dealing with such a non-artistic challenge? The paper introduces a method named Art Hacking that applies professional labour attitudes typical for artists and artistic modes of thinking to business problems and enhances the approach by having artists attend the whole intervention. One of these events was taken as a case for exploring the role of four artists in the collective idea-generation process. The results of participatory observation along critical incident technique substantiate the thesis that in interdisciplinary “playgrounds” artists implicitly become process leaders. They are catalysts for awareness, sensemaking and change of perspective.

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Reagan, Trudy Myrrh. "Ylem: Serving Artists Using Science and Technology, 1981–2009." Leonardo 51, no. 1 (February 2018): 48–52. http://dx.doi.org/10.1162/leon_a_01192.

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YLEM: Artists Using Science and Technology, a nonprofit group in the San Francisco Bay Area, was active from 1981 to 2009, publishing the YLEM Newsletter (later, the YLEM Journal). In the 1990s, it published the Directory of Artists Using Science and Technology, illustrated with members’ work, and established its website, < www.ylem.org >. YLEM’s public Forums introduced artists to science, scientists to art and the general public to new artistic and technological expression. It organized field trips to laboratories, industrial sites and artists’ studios and mounted exhibitions of members’ work. Members’ friendships mutually encouraged their work in this new arena.

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Ali, Z. "Neonatal Group B streptococcal infection at the Mount Hope Women's Hospital, Trinidad." Child: Care, Health and Development 30, no. 1 (January 2004): 1–3. http://dx.doi.org/10.1111/j.1365-2214.2004.00379.x.

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Thompson, Yolanda, and Rachael Williams. "Blood group frequencies of the population of Trinidad and Tobago, West Indies." Journal of the Forensic Science Society 31, no. 4 (July 1991): 441–47. http://dx.doi.org/10.1016/s0015-7368(91)73185-x.

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Durand-Ruel, Victoria Mouraux, and John Zarobell. "Contemporary art from the Global South in the art auction market from 2020 to 2022." Arts & Communication 2, no. 1 (November 8, 2023): 1608. http://dx.doi.org/10.36922/ac.1608.

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In recent years, emerging artists from the Global South have garnered substantial attention in the art market. This study seeks to examine the market value and ecosystem evolving around these emerging artists by analyzing the sales results of 51 artists between 2020 and 2022. This research aims to establish patterns linking unprecedented sales results with exhibition history and highlights the essential network required for these artists’ commercial success. The study reveals that the emergence of artists in the global art market results from a deliberate effort by a network of stakeholders. Our exhibition database led us to a group of 438 stakeholders who promote this sample of artists. By examining artists’ origins, backgrounds, and careers, this study provides context for analyzing the impact of artistic migration on artists’ visibility, the importance of being promoted by a variety of specialists, and the surge of African artists in the global art market since 2020. Our findings indicate that the structure of the art world has shifted toward a decentralized global art market characterized by a diverse range of actors and inputs dispersed globally. This diversification has disrupted traditional power structures in the art world, opening up new possibilities for emerging artists from the Global South, thereby contributing to a more equitable and inclusive art market.

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Journal articles on the topic 'Trinidad (Group of artists)'

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