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This study deals with self-taught visual artists who are considered "amateurish" by the establishment of the Memorial Center in Kiryat Tiv'on, Israel, where they have exhibit their artwork. We will try to figure out both the explicit and implicit characteristics of "amateurish" artists, and challenge the supposed linkage between amateurism and lack of creativity. The methodology applied combines a sociological point of view, drawing on in-depth interviews with the artists, along with a visual analysis of the artwork produced. The theory of "modest" artists, by Marie Buscatto, and the theory of serious leisure perspective by Robert A. Stebbins, will contribute supportive classifications and categories for the analysis. We claim that the artists of our study are located on an axis between "amateurish" and "professional" within a fluid area of "serious leisure". They are regarded as "amateurish" due to their lack of academic background in the arts, their relatively old age, having encountered lack of official recognition, having come across various obstacles in displaying their art and having received low remunerations. Aside from their marginal position in the art field, we were able to detect a few characteristics that distinguish their artwork from that of "professionals". Our findings prove them to constitute an in-between category of "modest" or "serious-leisure-amateurish" artists, which blurs the dichotomy between "amateurish" and "professional" artists imposed by the establishment. We found these "modest" artists' experiences to be creative, as well as some of their artwork; nevertheless, this kind of creativity seems to be disregarded by the establishment which perceives creativity as innovation.

A dialogue with Linda Nochlin, the Maverick She -- 1970s : Why have there been no great women artists? -- Miriam Schapiro: recent work -- Some women realists -- Women artists after the French Revolution -- 1980s : Florine Stettheimer: rococo subversive -- Nancy Graves: the subversiveness of sculpture -- Morisot's Wet nurse: the construction of work and leisure in impressionist painting -- Zuka's French Revolution: a woman's place is public space -- 1990s : Pornography as a decorative art: Joyce Kozloff's patterns of desire -- Starting from scratch: the beginnings of feminist art history -- Mary Cassatt's modernity -- Sylvia Sleigh: portraits of women artists and writers -- Deborah Kass: portrait of the artist as an appropriator -- 2000s : Jenny Saville: floating in gender nirvana -- Mary Frank: encounters -- Seeing beneath the surface (Kathleen Gilje) -- A rage to paint: Joan Mitchell and the issue of femininity -- Sam Taylor-Wood: when the stars weep -- Alice Neel -- Unholy postures: Kiki Smith and the body -- Sarah Lucas: God is Dad -- "Why have there been no great women artists?" thirty years after -- Women artists then and now: painting, sculpture, and the image of the self -- Cecily Brown: the erotics of touch -- Existence and beading: the work of Liza Lou -- Black, white, and uncanny: Miwa Yanagi's Fairy tale -- Old-age style: late Louise Bourgeois -- 2010s : Sophie Calle: word, image and the end of ekphrasis -- Ellen Altfest: a new, new realism -- Natalie Frank: the dark side of the fairy tale

this is the text and power point of a video presented to the students of the Double Bachelor in HUST-Paris Saclay, as part of the online course "Perceive Practice in Science" by Jianmiao Liu and Alain Zozime at the University of Science and Technology (Hust) in Wuhan, China, October — December 2021. ; Il s'agit du texte et du power point d'une vidéo présentée aux étudiants de la double licence en Biologie HUST-Paris Saclay, dans le cadre du cours en ligne "Perceive Practice in Science" de Jianmiao Liu et d'Alain Zozime à l'Université de Sciences et Technologie (HUST) à Wuhan, Chine, octobre-décembre 2021

This study used the MMPI-2 to explore the personalities of yellow-belt and black-belt martial artists. A total of 40 participants completed the MMPI-2 and a demographic questionnaire. Black-belt females tended to be less defensive than were other martial artists, but also displayed
more paranoia and more anger than average. Females of both ranks reported a higher degree of anxiety and health concerns than did males in the study, and black-belt females also reported more family problems than did other groups. Finally, black belts in general reported more health concerns
than did yellow belts.

The following text is a transcription and translation from a conversation with Eduardo Santos, a Brazilian tagger and street artist who currently lives in Lisbon, Portugal. Santos, more widely known as Shp ('sheep'), member of the group Pregos (literally translated as 'nails'), responded to questions about identity, life philosophy and art through a series of WhatsApp audios. In addition, Shp and Xiên, another Brazilian migrant, provide a voice-over for a ten-minute video that shows a 'night in the life' of a pixador, the name given in Brazilian Portuguese to a street artist who practises the Brazilian variant that mixes elements of tagging and graffiti. Topics broached include: a comparison between pixo and Brazilian funk, marginalized arts, the street, the origins of pixo in Lisbon, respect and the presence of Brazil in the tuga (Portugal). English subtitles were done by Mariana Gil, a Brazilian photographer and migrant living in Aarhus, Denmark (video link: https://www.instagram.com/tv/CQYue_MnUuk/?utm_medium=copy_link).

Beijing arts districts were protected after 2006 by a cultural planning strategy fostering the development of cultural creative industries. But under a new city plan in effect since the winter of 2016, the urban periphery of Beijing has been facing demolitions. Also affected were emerging artist communities that were located there. This qualitative study centers on the recently demolished Black Bridge (Heiqiao) artist community. To prove my hypothesis that citywide cultural planning is not serving independent artists and to explore what tools might help them thrive, as individuals and as a spatial community, I conducted twenty semi-structured interviews conducted with artists, local inhabitants, local alternative spaces owners and local government officials. By identifying interest alignments between artists, planners and local community members, this thesis aims to provide strategic planning for future artist communities in Beijing affected by the new city plan.