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Relevant bibliographies by topics / Artist careers

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Academic literature on the topic 'Artist careers'

Author: Grafiati

Published: 4 June 2021

Last updated: 13 February 2022

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Journal articles on the topic "Artist careers"

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Sooudi, Olga Kanzaki. "Alternative Spaces & Artist Agency in the Art Market." Arts 9, no. 4 (November 10, 2020): 116. http://dx.doi.org/10.3390/arts9040116.

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This article explores what alternative, or artist-led, spaces are in Mumbai today and their role within the city’s artworld. Drawing on ethnographic fieldwork in two alternative spaces, it argues that these are artist attempts to exercise agency in their work for an uncertain market context. In other words, these spaces are a strategy for artists to exercise control over their work in an uncertain art market, and a means to counterbalance their dependence on galleries in their careers. Furthermore, artists do so through collectivist practices. These spaces, I argue, challenge models of artistic and neoliberal work that privilege autonomy, independence, and isolation, as if artists were self-contained silos of productive creative activity and will. Artists instead, in these spaces, insist on the importance of social bonds and connection as a challenge to the instrumentalization and divisive nature of market-led demands on art practice and the model of the solo genius artist-producer. At the same time, their collective activities are oriented towards supporting artists’ individual future market success, suggesting that artist-led spaces are not separate from the art market, and should be considered within the same analytical frame.

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Bennett, Dawn. "Dancer or Dance Artist? Dance Careers and Identity." International Journal of the Arts in Society: Annual Review 3, no. 3 (2008): 73–78. http://dx.doi.org/10.18848/1833-1866/cgp/v03i03/35472.

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Lam, Alice. "Boundary-crossing careers and the ‘third space of hybridity’: Career actors as knowledge brokers between creative arts and academia." Environment and Planning A: Economy and Space 50, no. 8 (December 11, 2017): 1716–41. http://dx.doi.org/10.1177/0308518x17746406.

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This article examines how boundary-crossing careers influence creative knowledge combination by looking at a group of creative artists whose careers straddle professional arts and academia. Whereas previous research has treated individuals as vehicles for knowledge transmission across intertwined networks, this study emphasizes their active role as knowledge brokers. It examines how work role transitions trigger a dynamic interplay between actors and contexts, and brings about changes in the cognitive frames of individuals and their propensity to connect knowledge across contexts. The study employs Bhabha’s concept of the ‘third space of hybridity’ to denote the agency space where career actors construct hybrid role identities and engage in knowledge brokering. The analysis identifies two categories of hybrid with different boundary-crossing careers and shows how work role transitions influence the topology of the third space where knowledge brokering occurs. The ‘artist-academics’ whose careers span art and academia concurrently experience recurrent micro-role transitions. They are ‘organic’ hybrids operating at the ‘overlapping space’ where knowledge translation and integration occur naturally in everyday work. They are ‘embedded’ knowledge brokers. The ‘artists-in-academia’, who cross over from the art world to academia, experience more permanent macro-role transitions. They are ‘intentional hybrids’ who make conscious efforts to bridge two discrete work domains by creating a separate ‘transitional space’. Their knowledge brokering activities are instrumental in transforming both their own knowledge and that of their work context: they are transformative knowledge brokers. The study advances our understanding of career mobility as a mechanism that facilitates creative knowledge combination by highlighting actor agency and the underlying cognitive-behavioural mechanisms.

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Carradini, Stephen. "Artist Communication: An Interdisciplinary Business and Professional Communication Course." Business and Professional Communication Quarterly 82, no. 2 (February 5, 2019): 133–52. http://dx.doi.org/10.1177/2329490619826113.

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The arts have not received much attention from business and professional communication (BPC) scholars who are interested in workplace communication. This article begins to fill that gap by explaining a course focused on the BPC that artists produce in their careers. Students learned BPC genres by addressing arts situations: They crafted email pitches to promoters, took promotional photography, created crowdfunding proposals, and more. I argue that teaching artist communication can give a new context to existing BPC assignments, encourage interdisciplinary initiatives, and allow for the incorporation of natively digital communication genres into existing courses.

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M. Muñiz Jr, Albert, Toby Norris, and Gary Alan Fine. "Marketing artistic careers: Pablo Picasso as brand manager." European Journal of Marketing 48, no. 1/2 (February 4, 2014): 68–88. http://dx.doi.org/10.1108/ejm-01-2011-0019.

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Purpose – In recent years, scholars have begun suggesting that marketing can learn a lot from art and art history. This paper aims to build on that work by developing the proposition that successful artists are powerful brands. Design/methodology/approach – Using archival data and biographies, this paper explores the branding acumen of Pablo Picasso. Findings – Picasso maneuvered with consummate skill to assure his position in the art world. By mid-career, he had established his brand so successfully that he had the upper hand over the dealers who represented him, and his work was so sought-after that he could count on selling whatever proportion of it he chose to allow to leave his studio. In order to achieve this level of success, Picasso had to read the culture in which he operated and manage the efforts of a complex system of different intermediaries and stakeholders that was not unlike an organization. Based on an analysis of Picasso's career, the authors assert that in their management of these powerful brands, artists generate a complex, multifaceted public identity that is distinct from a product brand but shares important characteristics with corporate brands, luxury brands and cultural/iconic brands. Originality/value – This research extends prior work by demonstrating that having an implicit understanding of the precepts of branding is not limited to contemporary artists and by connecting the artist to emerging conceptualizations of brands, particularly the nascent literatures on cultural, complex and corporate brands.

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Braden, L. E. A. "Networks Created Within Exhibition: The Curators’ Effect on Historical Recognition." American Behavioral Scientist 65, no. 1 (October 15, 2018): 25–43. http://dx.doi.org/10.1177/0002764218800145.

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This research examines artist networks created by shared museum exhibition. While previous research on artistic careers assesses self-cultivated networks, historical recognition may be further influenced by connections created by important others, such as museum curators and art historians. I argue when museum exhibitions show artists together, curators are creating symbolic associations between artists that signal the artist’s import and contextualization within his or her peer group. These exhibition-created associations, in turn, influence historians who must choose a small selection of artists to exemplify a historical cohort. The research tests this idea through a cohort of 125 artists’ exhibition networks in the Museum of Modern Art, New York, from 1929 to 1968 (996 exhibitions). Individual network variables, such as number and quality of connections, are examined for impact on an artist’s recognition in current art history textbooks (2012-2014). Results indicate certain connections created by exhibition have a positive effect on historical recognition, even when controlling for individual accomplishments of the artist (such as solo exhibitions). Artists connected with prestigious artists through “strong symbolic ties” (i.e., repeated exhibition) tend to garner the most historical recognition, suggesting robust associations with historical peers may signify an artist’s exemplary status within his or her cohort, and consequent “good fit” into the historical narrative.

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Petrides, Loizos, and Alexandra Fernandes. "The Successful Visual Artist: The Building Blocks of Artistic Careers Model." Journal of Arts Management, Law, and Society 50, no. 6 (November 1, 2020): 305–18. http://dx.doi.org/10.1080/10632921.2020.1845892.

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Miller, Diana L. "Gender and the Artist Archetype: Understanding Gender Inequality in Artistic Careers." Sociology Compass 10, no. 2 (February 2016): 119–31. http://dx.doi.org/10.1111/soc4.12350.

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Teece, Denise-Marie. "“Compassionate Companion, Familiar Friend”: The Turin Safīna (Biblioteca Reale Ms. Or. 101) and Its Significance." Muqarnas Online 36, no. 1 (October 3, 2019): 61–82. http://dx.doi.org/10.1163/22118993-00361p04.

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Abstract This article examines some of the more significant aspects of Turin Safīna manuscript Biblioteca Reale Ms. Or. 101. One of these is its unique and important six-page preface, which refers to the manuscript as a safīna (ship or vessel) and explains in poetic language why some Persian manuscripts are referred to using this term. In addition to this significant preface, which is translated and analyzed in the first half of the article, the manuscript also exhibits delicate illuminations and calligraphy work that may be connected to a network of artist-families active in western Persia (primarily in the region of Shiraz) around the time of its completion. The second half of this article revisits the careers of some of these artists, and discusses the broader artistic context for the creation of the Turin safīna manuscript. Special attention will be given to the careers of the illuminator known as Ruzbehan al-Modhahheb, and his calligrapher father Naʿim al-Din al-Kateb.

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Zimnica-Kuzioła, Emilia. "Acting Career and its Determinants in the Social World of Professional Theater in Poland." Konteksty Społeczne 8, no. 1 (November 20, 2020): 48–69. http://dx.doi.org/10.17951/ks.2020.8.1.48-69.

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The article is an attempt to answer the question about factors affecting the trajectory of an acting career. The author confronts the objective dimensions of a career with a subjective concept of success, clarified by the participants of the social world of theater themselves. The empirical basis of the work are free interviews conducted by the author with actors of Polish public drama theaters (in 2015–2017) and journalistic interviews with theater artists published in books and popular monthly magazines in the last two decades of the 21st century. All sources were subjected to qualitative content analysis. It shows that in addition to talent, which is the basis of an acting career, hard work is also important. The actors pay attention to personality aspects – charismatic people with a natural ability to attract attention have a greater chance of success. The cultural capital of the stage artist and social capital (the relevant role of linking artistic careers) are not without significance for the course of the acting career. Actors also say a lot about coincidence of events, but it is worth remembering that “you have to be good to be lucky”, you have to be more motivated and determined. The author also tries to answer questions whether awards actuate the course of acting career and whether migrations are an opportunity for creative progression.

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Dissertations / Theses on the topic "Artist careers"

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Fuller, Martin Graham. "Cities, canvases and careers : becoming an artist in New York and Berlin." Thesis, University of Cambridge, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708605.

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Flynn, Emma. "Building careers, managing capitals." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/9393.

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I sought to find out whether this was a tension between artistic and commercial in the career of visual artists, and if so, how this tension was managed. In attempting to uncover information which could address the research question I undertook in-depth career history interviews with artists which covered their time at art school through to their current practice. The career history method was deliberately chosen in order to address the research question at a tangent as both the literature, and my own personal experience of the field of contemporary visual art, had suggested that the topic of artistic and commercial was a sensitive one. By framing the interviews around the experiences the artists had through the time period of their training and career, I was able to approach the research questions indirectly from the perspective of the artists. Through analysis of the interview transcripts the framework of Bourdieu's capitals arose as one that would capably explain the activities which the artists were undertaken and I used this as a framing device for the empirical chapters in the thesis. In exploring ideas of cultural, social and economic capitals in relation to how artists describe the activities they undertake during their career it became apparent that the broad structures of cultural capital needed further refinement in their application to the careers of visual artists. In the thesis I chose to elaborate further on the concept of artistic capital which has, until now, been unexplored by scholars. I have developed an understanding of artistic capital as a subcategory of cultural capital with particular application to the field of contemporary visual art – with the potential for wider application beyond the thesis. The three capitals of artistic, social and economic proved a capable structure for understanding whether there was a tension between artistic and commercial and how artists managed this. Through this research I have found that artists come to believe, during their early career and training through art school, that there is a tension between artistic and commercial as this is perpetuated by institutions and art world participants through their exclusion or dismissal of commercial aspects of the visual art field. Through their careers they come to realise that this tension is less prevalent than they thought and that they are able to manage these two aspects of artistic and commercial more effectively. However, artists continue to be faced with instances where this tension is imposed upon them by other art world players who perpetuate the belief that there is an inherent, unresolvable tension between artistic and commercial. These individuals attempt to shield artists from this perceived tension later in their careers when artists are already adept at managing the competing priorities of artistic and commercial without the two creating tension.

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Alves, Adriano Batista. "Teorias de carreira: um estudo sobre a jornada profissional do artista." Pontifícia Universidade Católica de São Paulo, 2010. https://tede2.pucsp.br/handle/handle/957.

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Made available in DSpace on 2016-04-25T16:44:14Z (GMT). No. of bitstreams: 1 Adriano Batista Alves.pdf: 471465 bytes, checksum: c976817fd00c075a4d0e20486e9221de (MD5) Previous issue date: 2010-10-28
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
Many professions are benefiting from the labor studies and the delineation of their careers, they mostly focused on the organizational environment, which requires and fosters these studies for their own development. Even considering the other studies and authors who were instrumental in the study of careers, which are interdependent and converges in meaning and application, the career of an artist becomes the object of this dissertation on the ground does not fit a specific model of career but present with very particular characteristics that are inherent in this profession. The artist, regarded as professional driving career in a manner dissociated from the organizational management system, now in part because his work permit you, pray for her condition to a structure that depends on your creativity and other skills specific to the craft. The structuring of their work is shaped by the same demand, coupled with their skills and their sense of achievement, the latter an intangible component, but fundamental in developing as a professional, independent of the operating area in the arts. The journey of each artist points to a constant development of skills, the ability to adapt to uncertainty, the horizontal mobility of their careers and setting up networking, which conducts the survey for a multi-directional results. Trying to understand the structure of artists career, the study considers the main theories on the subject as a reference to research conducted with professionals from various fields of art, and drawing a parallel between the reality of these with already made careers studies. Also, in order not to limit the focus of careers, but to discuss the issue of positioning the artist in the twenty-first century, was associated with the issue of tangible and intangible value, it was possible to contextualize about the inviolability of the artwork and its place in quantifiable values of society. The survey was conducted with ten professional, who answered seven questions addressed to the interpretation of their careers, expectations, feelings about their careers and the profession, the way that works its image and visibility of their artistic production, as well the concepts for pricing and marketing of their works or services
Muitas das profissões são beneficiadas com os estudos do trabalho e pelo delineamento de suas carreiras, estes na maioria das vezes voltados para o ambiente organizacional, o qual necessita e favorece estes estudos para seu próprio desenvolvimento. Mesmo considerando os demais estudos e autores que foram determinantes para os estudos de carreiras, os quais são interdependentes e convergem em sentido e aplicação, a carreira de artista se torna o objeto desta dissertação pela razão de não se enquadrar em um modelo específico de carreira, mas se apresentar com características muito particulares que são inerentes à esta profissão. O artista, analisado como profissional, conduz sua carreira de maneira dissociada do sistema organizacional de gestão, ora em parte por seu trabalho lhe permitir, ora por lhe condicionar a uma estrutura que depende de sua criatividade e demais competências específicas do ofício. A estruturação de seu trabalho é moldada pela demanda do mesmo, associada de suas competências e seu sentimento de realização, este último um componente intangível, mas fundamental no desenvolvimento como profissional, independente da área de atuação no campo das artes. A jornada de cada artista aponta para um constante desenvolvimento de competências, a capacidade de se adaptar às incertezas, a mobilidade horizontal de suas carreiras e criação de networking, que conduz os resultados da pesquisa para um modelo multi-direcional. Procurando entender a estrutura da carreira de artistas, o estudo considera as principais teorias sobre o tema como referência para a pesquisa efetuada com profissionais de diversas áreas da arte, e traçar um paralelo entre a realidade destes com os estudos de carreiras já realizados. Também, de modo a não se limitar ao foco das carreiras, mas discorrer sobre a questão do posicionamento do artista no século XXI, foi associado a questão de valor material e imaterial; onde foi possível contextualizar sobre a intangibilidade do trabalho artístico e sua inserção na sociedade de valores quantificáveis. A pesquisa foi realizada com dez profissionais, os quais responderam sete questões dirigidas à interpretação de suas carreiras, expectativas, sentimentos em relação à suas carreiras e exercício da profissão, a forma em que trabalha sua imagem e visibilidade de sua produção artística, assim como lida com a precificação e comercialização de suas obras ou serviços

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Scoggins, Rebekah S. "A Renegotiation of the Role of the Artist in the 1950s Era of Mechanical Reproduction: The Early Careers of Jasper Johns and Robert Rauschenberg." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/art_design_theses/104.

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Although Walter Benjamin argues printed materials are without traditional art authority or aura, Jasper Johns and Robert Rauschenberg’s work exists in the tradition of high art despite their use of mass-produced materials. Johns and Rauschenberg rely on the distracted attention of the viewer in the age of reproduction to engender reassessment of materials in their works. They use objects that contribute to the new distracted audience but create works that force the viewer toward intense contemplation; their works also combat trends Benjamin identifies to stake their claim as artists of original works while remaining relevant to the modern era. Johns merges print, mechanized reproduction, painting, and sculpture to subvert and reaffirm his place as the artist of an auratic object. Rauschenberg employs ready-mades, painting, printed materials, and sculpture in hybrid art works that unite mechanization with human facture to renegotiate and expose the overstimulation of reproduced objects within society.

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Dohm, Alexandra Maria Ethlyn. "Career skills needed to be a successful artist: Finding links between art teachers' practices and artists' beliefs." Thesis, The University of Arizona, 2000. http://hdl.handle.net/10150/278742.

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By interviewing professional artists, I explore the career skills fine artists perceive as necessary for financial success in the art world. Through interviews with art teachers, I examine how these necessary career concepts are being taught in elementary and secondary art classrooms. I also discuss reasons for insufficient implementation of career skills and provide suggestions for how art teachers can improve their career education curriculum.

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Bill, Brian Channing. "Pinball illustration : the artists and their careers /." Related Electronic Resource: Web site of the Internet Pinball Database:, 2001. http://www.ipdb.org/.

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Thesis (M.A.)--Syracuse University, 2001.
"Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Illustration in the Graduate School of Syracuse University." Includes bibliographical references.

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Phelan, James. "Philip Roth as moral artist at mid-career." Thesis, University of British Columbia, 2009. http://hdl.handle.net/2429/17416.

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As a serious young man in the nineteen-fifties and early sixties, Philip Roth believed writing fiction was an exalted calling with a high moral purpose. He was a committed social realist with a Lionel-Trilling-like ethics of fiction and a grand, unrealized ambition to write about public life. Then, fifteen years into his career, he wrote Portnoy’s Complaint (1969), a rollicking extravaganza of scurrilous comic invention and exaggerated grievance. Revelling in wildness and transgression, he found a voice that galvanized his talent as nothing before had done. Yet he still seemed to feel bound by his old ethical commitments. This was not the artistic breakthrough he had been hoping for. My paper considers how Roth works at reconciling his deep-seated sense of moral responsibility as a writer with his inescapable talent for imaginative recklessness in three novels, each of which marks a turning point in the middle of his career, Portnoy, The Ghost Writer (1979), and The Counterlife (1986). I take this moral/aesthetic problem to be an important preoccupation of Roth’s and make that preoccupation the basis for readings of the novels. In doing so, I try to show that his ethics and aesthetics are much deeply entangled than is usually acknowledged. In Portnoy he does all he can to contain Alex Portnoy’s rampaging monologue inside a morally proper narrative frame. With The Ghost Writer, he eschews his old ethics of fiction and makes a complex declaration of aestheticism by appropriating Anne Frank’s life story and voice to his pointedly reckless fiction. The Israel chapters of The Counterlife are a watershed in his career. In them, he puts his aesthetic wildness to work for his moral probity, while opening his fiction up to the public scene. He presents a dialogical, non-normative moral fiction investigating the question of Israeli settlement on the West Bank by imaginatively projecting himself into a range of ethically engaged Israeli subject positions and having the characters he invents debate the controversy in variations on his characteristic voice. In the mid-eighties as in the early sixties, Roth’s objective as a moral writer is the "expansion of moral consciousness."

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Cuzman, Miruna Sinziana. "Trench modernism : William Orpen's career as war artist." Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/25698.

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In response to growing German propaganda during the First World War, the British Government formed a special Propaganda Department, which used visual art as a means of boosting up the morale of civilians and British soldiers on the Front. The War Artists‟ Scheme brought into being under the auspices of the Propaganda Department in 1914 allowed some of the most promising British artists to produce memorable paintings. The works documented the numerous sites of the Western and Eastern Front. In addition, the artists employed under the scheme presented the nation with portraits of notable military and political figures engaged in the war effort. This thesis investigates how William Orpen, an established society portraitist and A.R.A., fits into the War Artists‟ Scheme. His position was problematic: as a painter working in an early twentieth-century descriptive vein and older than other artists at the Front, how did he fare in this troubled context? Orpen‟s work on the Western Front (France and Flanders) has been so far neglected and considered to be of little relevance in comparison to what other avant-garde artists produced during the same time span. The thesis investigates how Orpen, although painting in an early twentieth-century representational style considered slightly passé, embedded in his works innovative means of expression, creating vivid, haunting imagery, adding to a body of work which was supposed to be documentary a depth reminiscent of ecclesiastic artistic practice. The thesis attempts to re-evaluate Orpen‟s war oeuvre, an aspect of the artist‟s rich imagery hitherto left to oblivion.

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Myrstener, Pella. "Liss Eriksson, Arne Jones, Knut-Erik Lindberg och "1947 års män" : En kultursociologisk studie av vägval och karriärer." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-21471.

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I have studied the Swedish artist formation ”1947 års män” with a sociological perspective based on the ideas of Pierre Bourdieu. I initially made a study of the group as a whole, and after that I chose to focus on the sculptors Liss Eriksson, Arne Jones and Knut-Erik Lindberg. I have examined why some of the artists in the formation became more successful than others. My results show that the ones who were versed in culture or came from an economically or intellectually stronger background also were considered to be the most pioneering artists. These artists also were the ones who became noticed by the art critics at their break-through exhibition in Stockholm in 1947. The art critics’ reviews likely had an impact on the future careers of the artists, as well as on the extent of which they came to be reminded today.
Jag har studerat konstnärsgruppen ”1947 års män” utifrån ett kultursociologiskt perspektiv. Jag gjorde först en studie av hela gruppen, för att sedan fokusera på gruppens skulptörer Liss Eriksson, Arne Jones och Knut-Erik Lindberg. Jag ville undersöka varför vissa av medlemmarna i gruppen blev framgångsrika konstnärer som än idag är ihågkomna, och varför andra inte blev det. Jag kom fram till att det var de konstnärer som hade goda sociala kontakter, var kulturellt och intellektuellt bevandrade eller kom från ekonomiskt starka hem som gjorde det som uppfattades som den mest banbrytande konsten och kom att av konstkritikerna tillskrivas som mest intressanta vid tiden för deras genombrottsutställning 1947. Denna reception lär sedan också ha påverkat även konstnärernas fortsatta karriärer i form av uppdrag, utställningar och inköp till viktiga konstsamlingar och kan även ha påverkat dagens beskrivning av vissa av konstnärerna i gruppen som mer framstående än andra.

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Wall, Sharron. "Careers of freelance creative and performing artists : implications for education." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=64100.

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Books on the topic "Artist careers"

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Canada. Council of the Arts. The impact of Canada Council individual artist grants on artist careers: Results of research on grant patterns and discussion groups with individual artist grant recipients. Ottawa: Council of the Arts, 2000.

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Galenson, David W. A portrait of the artist as a young or old innovator: Measuring the careers of modern novelists. Cambridge, Mass: National Bureau of Economic Research, 2004.

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Galenson, David W. A portrait of the artist as a young or old innovator: Measuring the careers of modern novelists. Cambridge, MA: National Bureau of Economic Research, 2004.

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Associates, WME Consulting. The impact of Canada Council individual artist grants on artist careers: Results of research on grant patterns and discussion groups with individual artist grant recipients : a WME Consulting Associates report to the Canada Council for the Arts. Ottawa, Ont: WME Consulting Associates, 2000.

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Associates, WME Consulting. The impact of Canada Council individual artist grants on artist careers: Results of research on grant patterns and discussion group with individual artist grant recipients : a WME Consulting Associates report to the Canada Council for the Arts. Ottawa, Ont: Canada Council, 2000.

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Belott, Brian. Wipe That Clock Off Your Face. [s.l.]: Picture Box Inc, 2007.

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Miller, Stacy. Career Management for Artists. New York, NY : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429442865.

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Stacy, Miller, ed. Starting your career as an artist. New York: Allworth Press, 2011.

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Honey, Sheila. Career paths of visual artists. London: Arts Council of England, 1997.

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Piven, Joshua. The Escape Artists. New York: McGraw-Hill, 2007.

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Book chapters on the topic "Artist careers"

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Miller, Stacy. "The Whole Artist." In Career Management for Artists, 114–39. New York, NY : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429442865-6.

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Morrow, Guy. "The artist’s career as startup." In Artist Management, 26–43. New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315520896-3.

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Jones, Lois Mailou. "The Career of anAfrican-American Woman Artist." In Lives of Career Women, 43–54. Boston, MA: Springer US, 1991. http://dx.doi.org/10.1007/978-1-4899-6447-2_4.

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Miller, Stacy. "The Foundations." In Career Management for Artists, 1–20. New York, NY : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429442865-1.

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Miller, Stacy. "Creating a Life in the Arts on Your Own Terms." In Career Management for Artists, 21–35. New York, NY : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429442865-2.

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Miller, Stacy. "Representation of Your Work." In Career Management for Artists, 36–66. New York, NY : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429442865-3.

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Miller, Stacy. "Connectivity." In Career Management for Artists, 67–92. New York, NY : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429442865-4.

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Miller, Stacy. "Entrepreneurship and DIY Movements." In Career Management for Artists, 93–113. New York, NY : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429442865-5.

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Scillio, Mark. "Cam and Peter – Artistic Practice as Precarious Work." In Making Career Stories, 149–62. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-55179-1_9.

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Wesner, Simone. "Artists’ Professionalisation and Careers in the Cultural Policy Landscape." In Artists’ Voices in Cultural Policy, 145–76. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-76057-5_6.

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Conference papers on the topic "Artist careers"

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Wright, Dr Angela. "Artist Graduates: Are they ready to do Business?" In HEAd'16 - International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/head16.2016.2493.

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Businesses must expose their products and services to customers so as to make sales and be heard. The world of the artist[1] is no different, and, in the words of the late Luciano Pavarotti, the artist must ‘be heard and be seen’. The aim of this paper is to examine if there is a need to ensure that our artistic graduates are ‘market ready’. The paper specifically examines this concept in the context of an Irish Institute of Technology (IT). Artists generally do not view the world in terms of business & commerce, only as a creative space. This research study investigates if there is a need for a special purpose award that would allow already qualified or working artists who have missed out on business education to take business modules at any stage in their careers. The findings in this study are rich and the attitudes to the business world by participating artists are interesting. Having established that artists need some business education, this paper then proceeds to outline what may be needed now, and in the future. Keywords: Artist, Musicians, Business Education, Business World. [1] For the purpose of this paper, the term ‘artist’ is deemed to refer to both performing and visual artists.

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Zhang, Yong. "Wu Guanzhong’s Artistic Career." In 7th International Conference on Arts, Design and Contemporary Education (ICADCE 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210813.059.

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Arakelyan, Shushan, Fred Morstatter, Margaret Martin, Emilio Ferrara, and Aram Galstyan. "Mining and Forecasting Career Trajectories of Music Artists." In HT '18: 29th ACM Conference on Hypertext and Social Media. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3209542.3209554.

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Zeid, Ibrahim, Marina Bograd, Claire Duggan, and Chitra Javdekar. "Internship and Experiential Learning Model for Liberal Arts Graduates to Prepare Them for Advanced Manufacturing Careers." In ASME 2016 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2016. http://dx.doi.org/10.1115/imece2016-67166.

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Liberal Arts (BA) graduates are, more often than not, either underemployed or unemployed in the field(s) for which they received their degree. This is more so true in hard economic and recessionary times. It is also well known that BA graduates are well rounded by virtue of their education and are more adept at changing careers. Advanced manufacturing is one such career where BA graduates may excel, especially in entry-level positions such as CAD operators, CNC programmers, production supervisors, and in support staff roles. The challenge is how to prepare these non-technical majors (BA graduates) for technical careers (advanced manufacturing). This paper presents an internship model that is part of a 12-month fast track certificate in advanced manufacturing to enable BA graduates to gain both the technical skills and experiential knowledge they need to secure jobs in advanced manufacturing. This paper describes the certificate academic program, corresponding courses, and the recruitment process of BA graduates to provide context. It then focuses on the details of the internship model: recruiting industry partners to provide internships, preparing students for the internships, the management and support system of these internships, and lessons learned so far. These research findings are part of an NSF, 3-year grant that investigates a transformation model of BA graduates for careers in advanced manufacturing.

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Hendricks, Genevieve. "Le Corbusier’s Postwar Painterly Mythologies." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.828.

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Abstract: Le Corbusier’s graphic output was prolific, consisting of hundreds of paintings, thousands of drawings and watercolors, and scores of collages, lithographs, and murals throughout his career. By the late 1940s his double-nature as artist-architect emerged as a key component to his work, as he highlighted the correlations and correspondences that informed his creative endeavors. His post-war works, specifically his series of Taureaux paintings, reveal the development of such themes as well as the transformation of earlier works as he turned to a mythologically-inspired vocabulary of totemic figures and animals, developing a private cosmology of sun and moon, male and female, the machine and Mediterraneità. Keywords: Le Corbusier, Visual Arts, Painting, Taureaux. DOI: http://dx.doi.org/10.4995/LC2015.2015.828

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Mitevska, Mayiana, and Paulina Tsvetkova. "THE MEDIATING EFFECT OF EMOTIONAL INTELLIGENCE ON THE BIG FIVE PERSONALITY TRAITS AND THE BIG SIX VOCATIONAL INTERESTS." In International Psychological Applications Conference and Trends. inScience Press, 2021. http://dx.doi.org/10.36315/2021inpact063.

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"A central theme in the present study is the assumption that the influence on the human behavior is mediated by different internal processes in the career choice. Emotional intelligence is defined as a variable which is a cause for the relationship between personality traits and the choice of a certain career. Three causal paths to the dependent variable were tracked – a path to the direct impact of the emotional intelligence on the career choice, a path to the influence of personality traits on the emotional intelligence as well as a path to the impact of personality traits on the career choice via the emotional intelligence. The aim of the study is to show the mediating role of emotional intelligence in the relationship between personality traits and career choice. A total of 100 Bulgarian secondary and university students (42 males and 58 females), aged 17-40 years, were included in the research. The following measures were used for the purpose of the study - Trait Emotional Intelligence Questionnaire – Short Form (TEIQue-SF), The Big five questionnaire and the Big six method for career choices. The Bulgarian version of the emotional intelligence questionnaire was translated and adapted for Bulgarian sociocultural context by Antonina Kardasheva (Kardasheva, 2012). The Big five questionnaire and the Big six method for career choices were adapted for Bulgarian conditions by S. Karabelyova (Karabelyova, 2015). The results showed that there was a direct positive impact of the emotional intelligence on the relationship between the enterprising type and conscientiousness, the artistic type and neuroticism and a negative impact on the relationship between the conventional type and extraversion. The conclusions derived from the study could be used for further psychological research in the field, as well as for enhancing the knowledge of one’s personality."

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Luo, Yanjun. "Research on Career Planning of College Students." In 2016 International Conference on Economics, Social Science, Arts, Education and Management Engineering. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/essaeme-16.2016.172.

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Stepan, Raluca. "EMOTIONAL INTELLIGENCE AND CAREER DECISIONS OF YOUNTH PEOPLE." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018/3.2/s11.015.

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Song, Yuan. "Research of College Students' Career Planning and Employment." In 3rd International Conference on Management Science, Education Technology, Arts, Social Science and Economics. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/msetasse-15.2015.63.

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Milovanovic-Bertram, Smilja. "Lina Bo Bardi: Evolution of Cultural Displacement." In 2016 ACSA International Conference. ACSA Press, 2016. http://dx.doi.org/10.35483/acsa.intl.2016.61.

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In recent years much has been written and exhibited regarding Lina Bo Bardi, the Italian/Brazilian architect (1914-1992). This paper aims to look at the phenomenon of cultural displacement and the dissemination of her design thinking as a major female figure in a male dominated profession. This investigation is distinguished from others in that it addresses the importance of regional and cultural influences that formed Lina’s design philosophy in her early years in Italy. Cultural displacement has long played a significant role in the creative process for artists. Often major innovators in literature are immigrants as elements of strangeness, distance, and alienation all contribute to their creativity. The premise is that critical distance is paramount for reflection as a change of context unfolds unforeseen possibilities. Displacement was a consistent element throughout the trajectory of Lina’s architectural career as she moved from Rome to Milan, from Milan to Sao Paolo from Sao Paolo to Bahia and back to Sao Paolo. Viewing this form of detachment and dislocation permits insight into her career and body of work as displacement mediates the paradoxical relationship between time and space. The paper will examine three distinct periods in her career. The first period is set in Rome, where she assimilated the city, showed artistic aptitude and spent her university years studying under Piacentiniand Giovannoni. The second period is set in Milan, where she developed impressive editorial and layout skills in publications work with Gio Ponti and BrunoZevi. and was influenced by Antonio Gramsci’s writings. The third is set in Brazil, where she builds and evolves as an architect via what she absorbed in Rome, wrote in Milan, and finally realized in Brazil. After Italy’s collapse in WWII Lina writes, draws, edits, critiques the plight of the Italians in need of better housing and circumstances. She leaves Milan with her new husband, PM Bardi (a prominent journalist, art critic) for Brazil. In Sao Paolo she absorbs the optimism and positive direction of Brazil. Her early design work in Brazil echoes European modernism, but when she travels to Bahia and becomes aware of the social conditions, she draws from her Italian experiences of and ideas of transforming lives through craft. Her architectural projects become directly responsive to the culture of Bahia and the politics of poverty. Lina’s design thinking evolves and parallels George Kubler’s study, The Shape of Time, and the history of man-made objects by bridging the divide between art and material culture.

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Reports on the topic "Artist careers"

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Galenson, David. A Portrait of the Artist as a Young or Old Innovator: Measuring the Careers of Modern Novelists. Cambridge, MA: National Bureau of Economic Research, January 2004. http://dx.doi.org/10.3386/w10213.

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Galenson, David. The Careers of Modern Artists: Evidence from Auctions of Contemporary Paintings. Cambridge, MA: National Bureau of Economic Research, December 1997. http://dx.doi.org/10.3386/w6331.

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Galenson, David. The Lives of the Painters of Modern Life: The Careers of Artists in France from Impressionism to Cubism. Cambridge, MA: National Bureau of Economic Research, January 1999. http://dx.doi.org/10.3386/w6888.

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Orning, Tanja. Professional identities in progress – developing personal artistic trajectories. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.544616.

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We have seen drastic changes in the music profession during the last 20 years, and consequently an increase of new professional opportunities, roles and identities. We can see elements of a collective identity in classically trained musicians who from childhood have been introduced to centuries old, institutionalized traditions around the performers’ role and the work-concept. Respect for the composer and his work can lead to a fear of failure and a perfectionist value system that permeates the classical music. We have to question whether music education has become a ready-made prototype of certain trajectories, with a predictable outcome represented by more or less generic types of musicians who interchangeably are able play the same, limited canonized repertoire, in more or less the same way. Where is the resistance and obstacles, the detours and the unique and fearless individual choices? It is a paradox that within the traditional master-student model, the student is told how to think, play and relate to established truths, while a sustainable musical career is based upon questioning the very same things. A fundamental principle of an independent musical career is to develop a capacity for critical reflection and a healthy opposition towards uncontested truths. However, the unison demands for modernization of institutions and their role cannot be solved with a quick fix, we must look at who we are and who we have been to look at who we can become. Central here is the question of how the music students perceive their own identity and role. To make the leap from a traditional instrumentalist role to an artist /curator role requires commitment in an entirely different way. In this article, I will examine question of identity - how identity may be constituted through musical and educational experiences. The article will discuss why identity work is a key area in the development of a sustainable music career and it will investigate how we can approach this and suggest some possible ways in this work. We shall see how identity work can be about unfolding possible future selves (Marcus & Nurius, 1986), develop and evolve one’s own personal journey and narrative. Central is how identity develops linguistically by seeing other possibilities: "identity is formed out of the discourses - in the broadest sense - that are available to us ..." (Ruud, 2013). The question is: How can higher music education (HME) facilitate students in their identity work in the process of constructing their professional identities? I draw on my own experience as a classically educated musician in the discussion.

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Chatelain, Amber. Career Arts Students' Perceptions of Credibility Based on Instructor Attire and Gender. Ames: Iowa State University, Digital Repository, November 2015. http://dx.doi.org/10.31274/itaa_proceedings-180814-165.

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