By Patricia B. Santora, Margaret L. Dowell, Jack E. Henningfield
Habit to alcohol, tobacco, and different medicinal drugs is among the significant public wellbeing and fitness problems with our time. It money owed for one in all each 5 deaths within the usa and prices nearly one-half trillion money according to yr in health and wellbeing care bills and misplaced productiveness. Its human charges are untold and maybe uncountable. habit and paintings places a human face on habit in the course of the inventive paintings of people who've been touched through it. The paintings incorporated the following offers designated tales approximately habit. Many items are stark representations of lifestyles at the side. Others are irritating contemplations of existence, which means, and dying. a few even replicate the attract of dependancy and a keenness for substance abuse. A panel of habit scientists, artists, and execs from the artwork global chosen the sixty one items integrated right here from greater than 1,000 submissions. observed via a written assertion from the artist, every one production is emblematic of the damaging energy of dependancy and the regenerative energy of restoration. attractive and infrequently unsettling, this particular portfolio finds habit artwork as a strong supplement to habit technology.
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Additional resources for Addiction and Art
As time passes, it is probable that more people will know less about any particular photograph; and, as time passes, it will mean less to more people that the photograph was taken in 1864 rather than 1870, that it was taken in Dijon rather than Paris. The ambiguity of a photograph, as John Berger points out (Berger and Mohr, 1982: 85–92), derives less from the ‘planted’ presence of competing meanings, than from the discontinuity, the gap, between the moment of taking, and the moments of looking that stretch far forward into the photograph’s future.
But where is the home of the imagination, and of memory? It is the poet’s lamplit room and the draughtsman’s/painter’s studio: OU T OF THE STU DIO I NTO THE STREET And now, whilst others are sleeping, this man is leaning over his table, his steady gaze on a sheet of paper, exactly the same gaze as he directed just now at the things about him, brandishing his pencil, his pen, his brush, splashing water from the glass up to the ceiling, wiping his pen on his shirt, hurried, vigorous, active, as though he was afraid the images might escape him, quarrelsome though alone, and driving himself relentlessly on.
These movements are surreptitiously installed by the yataghan and its sheath on the left of the picture. So it is that we move from a domestic interior, half lounge half studio, to a street interior, the café, to which Léon increasingly belongs, where time is accelerated, where compositional instability OU T OF THE STU DIO I NTO THE STREET FIGU R E 10 Gustave Caillebotte, Nude on a Couch (1880–82) makes the scene pregnant with possible event, anecdote, and where the senses are very variously appealed to.