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Exposure to community violence, either as victims or witnesses, is a widespread and persistent problem in many of America’s urban cities. In the U.S., the number of adolescents murdered each year can fill a high school of almost 6,000 students. As alarming as these figures are, the frequency of non-fatal adolescent injuries is at least 120 times that of youth murders, and it is estimated that more than 1.2 million crimes against adolescents go unreported yearly. Exposure to community violence has been linked to mental health problems, poor academic performance, involvement with risky peer networks, and more recently, as Professor Voisin’s work has documented, engaging in unsafe sex which increases the chances of contracting HIV. Collectively, these are problems which disproportionately affect African American and Latino youths. According to research by Voisin, studies on the impact of community violence have been generally artificially compartmentalized to examine discipline-specific outcomes (e.g., mental health, education performance, delinquency, and more recently risky sex) and have not adequately considered the interrelationships among these various domains which represent a major focus of Voisin’s scholarship. Through engaged research, teaching, service, and training, Voisin is committed to illuminating the broad impact of community violence on the developmental trajectories of young persons.

For over21 years, Professor Voisin has been conducting numerous studies which seek to better understand the various ways in which community violence exposure impacts the mental health, educational, and sexual trajectories of urban youth, with a major focus towards HIV prevention and intervention. His research has been funded by competitive awards from the National Institute of Mental Health, the National Institute of Child Health and Human Development, and the W.T. Grant Foundation, among others. His prior research has informed public policy and provided support for the passage of the nike black air max 90 leather pa
. This bill will provide a state advisory council which will make recommendations to the Illinois Department of Public Health on effective prevention messages to deter youths from engaging in risky behaviors that lead to HIV/AIDS infections. Voisin’s research has been cited by the Anne E. Casey Foundation, the Centers for Disease Control, the Maternal and Child Health Bureau, the California Department of Education, the Nebraska Department of Education, and the National Institutes of Health, among many others.

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Henri Matisse (French,1869–1954). La Musique , 1939. Oil on canvas,45 3/8 x 45 3/8 inches (115.3x 115.3cm). Collection Albright-Knox Art Gallery, Buffalo, New York;Room of Contemporary Art Fund, 1940 (RCA1940:13).© Succession H. Matisse / Artists Rights Society (ARS), New York.

© Succession H. Matisse / Artists Rights Society (ARS), New York

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French, 1869-1954

oil on canvas

support: 45 3/8 x 45 3/8 inches (115.25 x 115.25 cm); framed: 55 x 55 x 4 inches (139.7 x 139.7 x 10.16 cm)

Collection Albright-Knox Art Gallery, Buffalo, New York

Room of Contemporary Art Fund, 1940


This information may change due to ongoing research. Glossary of Terms

Audio Stop for Picasso: The Artist and His Models

Verbal Description Audio

Henri Matisse

La Musique

Oil on canvas, made in 1939

This painting is four and a half feet tall by four and a half feet wide, a perfect square. The viewer’s gaze is met by two women seated on brightly pattered cushions on what may be a patio. A combination of interior and exterior space is suggested by a bold red background covered with a bright yellow grid, comprised of roughly 1 inch squares that fills the bottom two thirds of the painting. The top third implies an exterior space as this strip of space has a solid black background on top of which are large flat green tropical plant leaves. The woman on the right side of the painting holds a guitar, on a table top set at the bottom of the work in between both is an open music book.

This work is painted in strong, bold colors. The figures and objects are flattened and linear. While the colors feel very solid, portions of the painting reveal the artists fluid brushstrokes which often move in a systematic direction within the given shape that they fill.

This description will start with the woman holding the guitar. The top of her head rests roughly five inches from the top of the canvas just to the right of center. Her navy blue long sleeve, ankle length pant suit has a sharp v-neck which reveals a cool peach flesh tone. She has chin length, wavy black hair. A few simple black lines create her angled open eyes, thin high arching eyebrows, slender nose and closed lips. Her gaze seems to be focused on the viewer and the corners of her lips curve slightly upward. She has broad shoulders. Her oversized left hand cradles the neck of the guitar and her equally oversized right hand is cupped with her palm facing upward just below the open sound hole of the guitar as though she is strumming the strings. Her torso faces the viewer while she is seated in a bright red lawn chair with a vine and leaf pattern lightly defined by a thin white line. The back of the chair is evident behind her right arm. Her left leg is bent and her left foot rest on-top of the lawn chair, her nose and edge of her pants are out of the picture frame. Her right leg is slightly bent and her large arched foot touches the bottom edge of the canvas. The bottom edge of both pant legs are patterned with upward facing bright yellow triangles.

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