Dissertations / Theses: '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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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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Lee, Sharon Yih-Chih. "The career development of Asian American female visual artists." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/4869.

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The Asian American population is one of the fastest growing racial groups within the United States, and will soon become a significant proportion of the nations' work force (Census, 2008). It is important for counselors and other helping professional to better understand the needs of this population in order to better prepare them for the nation's workforce. Given the limitations of the current knowledge pertaining to Asian American career development, researchers have called for additional studies examining the career development process for Asian Americans (Flores et al., 2006; Leong & Serifica, 1995). A notable gap in today's Asian American vocational literature is on the career development process for those who pursue underrepresented occupations, such as work in the humanities and arts. Researchers have noted that Asian American vocational research has predominantly focused on occupations in which there are more representation, such as Investigative or Enterprising fields (Escueta & O'brien, 1991), the unique career concerns of specific ethnic groups (Kim, 1993; Yang, 1991), familial involvement in career (Tang, Fouad, & Smith, 2004), or provides a broad conceptualization of career development of Asian Americans (Leong, 1986; Leong, 1991). However, there are no studies that examine the intersection of gender, race, and nontraditional career choices for Asian American women. This is especially true for occupational field that is often ignored in vocational research, such as the Artistic field (Ng, Lee, & Pack, 2007). Little is known regarding the why and how Asian American women choose to go into a field that is nontraditional and in which they are underrepresented. Further examination of this will allow helping professionals to gain a better understand the challenges and resiliency factors that influence Asian American women, especially those who choose to enter difficult field often not well regarded as an ideal career by family or society. The purpose of this study was to investigate the following questions: (1) What are unique aspects of the career development of early career Asian American female visual artists, (2) how do contextual factors in Asian American female visual artists' career development impact both their psychological and vocational well-being, and (3) what are the major supports and barriers for Asian Americans females in pursuing an Artistic career? Utilizing Consensual Qualitative Research (CQR) methodology (Hill, Thompson, & Williams, 1997), Asian American female early career visual artists were recruited, identified, and screened nationally through an online survey. Twelve East (n=10) and Southeast (n=2) Asian American female visual artists between the ages of 21 - 35 were interviewed utilizing a semi-structured interview protocol. Eight domains emerged from the analysis of the results: 1) Description of career path into the visual arts, (4) Ecological factors impacting overall career, (5) Financial influences on the career development, (6) Perceived additional skills and resources needed for career, (2) Influences on art work and artist identity, (3) Individual strengths contributing to career development, (7) Influences of support on career development, (8) Perceived barriers to career development. A detailed summary of these results, implications of these findings and recommendations for clinical work and future research will be provided.

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Bridgstock, Ruth Sarah. "Success in the protean career : a predictive study of professional artists and tertiary arts graduates." Queensland University of Technology, 2007. http://eprints.qut.edu.au/16575/.

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In the shift to a globalised creative economy where innovation and creativity are increasingly prized, many studies have documented direct and indirect social and economic benefits of the arts. In addition, arts workers have been argued to possess capabilities which are of great benefit both within and outside the arts, including (in addition to creativity) problem solving abilities, emotional intelligence, and team working skills (ARC Centre of Excellence for Creative Industries and Innovation, 2007). However, the labour force characteristics of professional artists in Australia and elsewhere belie their importance. The average earnings of workers in the arts sector are consistently less than other workers with similar educational backgrounds, and their rates of unemployment and underemployment are much higher (Australian Bureau of Statistics, 2005; Caves, 2000; Throsby & Hollister, 2003). Graduating students in the arts appear to experience similar employment challenges and exhibit similar patterns of work to artists in general. Many eventually obtain work unrelated to the arts or go back to university to complete further tertiary study in fields unrelated to arts (Graduate Careers Council of Australia, 2005a). Recent developments in career development theory have involved discussion of the rise of boundaryless careers amongst knowledge workers. Boundaryless careers are characterised by non-linear career progression occurring outside the bounds of a single organisation or field (Arthur & Rousseau, 1996a, 1996b). The protean career is an extreme form of the boundaryless career, where the careerist also possesses strong internal career motivations and criteria for success (Baruch, 2004; Hall, 2004; Hall & Mirvis, 1996). It involves a psychological contract with one's self rather than an organisation or organisations. The boundaryless and protean career literature suggests competencies and dispositions for career self-management and career success, but to date there has been minimal empirical work investigating the predictive value of these competencies and dispositions to career success in the boundaryless or protean career. This program of research employed competencies and dispositions from boundaryless and protean career theory to predict career success in professional artists and tertiary arts graduates. These competencies and dispositions were placed into context using individual and contextual career development influences suggested by the Systems Theory Framework of career development (McMahon & Patton, 1995; Patton & McMahon, 1999, 2006a). Four substantive studies were conducted, using online surveys with professional artists and tertiary arts students / graduates, which were preceded by a pilot study for measure development. A largely quantitative approach to the program of research was preferred, in the interests of generalisability of findings. However, at the time of data collection, there were no quantitative measures available which addressed the constructs of interest. Brief scales of Career Management Competence based on the Australian Blueprint for Career Development (Haines, Scott, & Lincoln, 2003), Protean Career Success Orientation based on the underlying dispositions for career success suggested by protean career theory, and Career Development Influences based on the Systems Theory Framework of career development (McMahon & Patton, 1995; Patton & McMahon, 1999, 2006a) were constructed and validated via a process of pilot testing and exploratory factor analyses. This process was followed by confirmatory factor analyses with data collected from two samples: 310 professional artists, and 218 graduating arts students who participated at time 1 (i.e., at the point of undergraduate course completion in October, 2005). Confirmatory factor analyses via Structural Equation Modelling conducted in Study 1 revealed that the scales would benefit from some respecification, and so modifications were made to the measures to enhance their validity and reliability. The three scales modified and validated in Study 1 were then used in Studies 3 and 4 as potential predictors of career success for the two groups of artists under investigation, along with relevant sociodemographic variables. The aim of the Study 2 was to explore the construct of career success in the two groups of artists studied. Each participant responded to an open-ended question asking them to define career success. The responses for professional artists were content analysed using emergent coding with two coders. The codebook was later applied to the arts students' definitions. The majority of the themes could be grouped into four main categories: internal definitions; financial recognition definitions; contribution definitions; and non-financial recognition definitions. Only one third of the definition themes in the professional artists' and arts graduates' definitions of career success were categorised as relating to financial recognition. Responses within the financial recognition category also indicated that many of the artists aspired only to a regular subsistence level of arts income (although a small number of the arts graduates did aspire to fame and fortune). The second section of the study investigated the statistical relationships between the five different measures of career success for each career success definitional category and overall. The professional artists' and arts graduates' surveys contained several measures of career success, including total earnings over the previous 12 months, arts earnings over the previous 12 months, 1-6 self-rated total employability, 1-6 self-rated arts employability, and 1-6 self-rated self-defined career success. All of the measures were found to be statistically related to one another, but a very strong statistical relationship was identified between each employability measure and its corresponding earnings measure for both of the samples. Consequently, it was decided to include only the earnings measures (earnings from arts, and earnings overall) and the self-defined career success rating measure in the later studies. Study 3 used the career development constructs validated in Study 1, sociodemographic variables, and the career success measures explored in Study 2 via Classification and Regression Tree (CART - Breiman, Friedman, Olshen, & Stone, 1984) style decision trees with v-fold crossvalidation pruning using the 1 SE rule. CART decision trees are a nonparametric analysis technique which can be used as an alternative to OLS or hierarchical regression in the case of data which violates parametric statistical assumptions. The three optimal decision trees for total earnings, arts earnings and self defined career success ratings explained a large proportion of the variance in their respective target variables (R2 between 0.49 and 0.68). The Career building subscale of the Career Management Competence scale, pertaining to the ability to manage the external aspects of a career, was the most consistent predictor of all three career success measures (and was the strongest predictor for two of the three trees), indicating the importance of the artists' abilities to secure work and build the external aspects of a career. Other important predictors included the Self management subscale of the Career Management Competence scale, Protean Career Success Orientation, length of time working in the arts, and the positive role of interpersonal influences, skills and abilities, and interests and beliefs from the Career Development Influences scale. Slightly different patterns of predictors were found for the three different career success measures. Study 4 also involved the career development constructs validated in Study 1, sociodemographic variables, and the career success measures explored in Study 2 via CART style decision trees. This study used a prospective repeated measures design where the data for the attribute variables were gathered at the point of undergraduate course completion, and the target variables were measured one year later. Data from a total of 122 arts students were used, as 122 of the 218 students who responded to the survey at time 1 (October 2005) also responded at time 2 (October 2006). The resulting optimal decision trees had R2 values of between 0.33 and 0.46. The values were lower than those for the professional artists' decision trees, and the trees themselves were smaller, but the R2 values nonetheless indicated that the arts students' trees possessed satisfactory explanatory power. The arts graduates' Career building scores at time 1 were strongly predictive of all three career success measures at time 2, a similar finding to the professional artists' trees. A further similarity between the trees for the two samples was the strong statistical relationship between Career building, Self management, and Protean Career Success Orientation. However, the most important variable in the total earnings tree was arts discipline category. Technical / design arts graduates consistently earned more overall than arts graduates from other disciplines. Other key predictors in the arts graduates' trees were work experience in arts prior to course completion, positive interpersonal influences, and the positive influence of skills and abilities and interests and beliefs on career development. The research program findings represent significant contributions to existing knowledge about artists' career development and success, and also the transition from higher education to the world of work, with specific reference to arts and creative industries programs. It also has implications for theory relating to career success and protean / boundaryless careers.

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Rengers, Merijn. "Economic lives of artists studies into careers and the labour market in the cultural sector /." [S.l. : s.n.], 2002. http://igitur-archive.library.uu.nl/dissertations/2002-0729-094948/inhoud.htm.

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Wallner, Eric Walter. "Alternatives in retrospect: the impact of alternative art spaces on the development of artists' careers." The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu1300987487.

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Viaut, Emilie. "Trajectoires professionnelles d’artistes plasticiens. Étude de cas comparative. Espace29, France – Wonderful District, Vietnam." Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030168.

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Cette recherche repose sur l’étude comparative des trajectoires professionnelles de deux groupes de plasticiens français : Wonderful District, cellule artistique créée en 2000 à Bordeaux, aujourd’hui établie à Ho Chi Minh ville, Vietnam, et l’Espace 29, lieu de création, d’exposition et de résidence d’art contemporain, fondé en 2006 également à Bordeaux. Le cadre scientifique de cette étude est composé d’une approche théorique pluridisciplinaire, assortie d’une méthodologie qualitative d’orientation interactionniste. Les données recueillies sur les terrains français et vietnamien ont engagé une réflexion autour du concept de mouvement et sa pratique dans l’organisation d’un système d’actions à dessein professionnalisant (usage des territoires, sédentarité, mobilité, nomadisme). A échelle de cette étude de cas, le prisme du réseau met en lumière l’importance de la construction d’un tissu d’interactions comme paramètre favorisant la dynamique de développement, d’innovation et de réalisation dans la profession artistique. De même, la notion d’utopie constitue le fil rouge de ces itinéraires, au cœur desquels se confondent parfois l’art et la vie. L’objectif de cette thèse vise l’observation des représentations imaginaires à l’origine des motivations de ces artistes (utopèmes), comparées aux moyens concrets et stratégies mises en œuvre en faveur de l’élaboration et de l’établissement de leur carrière. L’analyse des modes de structuration de leurs activités, individuelles et collectives, a permis d’identifier le rayonnement local, comme l’amplitude plus globale du cheminement de ces artistes dans le monde de l’art
This research is based on a comparative case study of the career paths of two groups of French artists: Wonderful District, artistic structure built in Bordeaux, in 2000, now based in Ho Chi Minh City, Vietnam, and Espace29, artistic space, founded in 2006, also in Bordeaux. The scientific framework of this study consists in a theoretical approach, multidisciplinary, together with a qualitative methodology referring to Interactionism. The prism of interaction highlights the importance of building a network as a development dynamic: it is a contributing factor that promotes innovation and goal achievement in artistic profession. Besides, field work in France and in Vietnam has launched reflections on concept and practise of movement: influence of movement in the management of the professionalization process (use of territories, mobility, nomadism, sedentary lifestyle). Moreover, the notion of utopia is the common thread of these courses, in which sometimes art and life are mixed. The objective of this dissertation is a comparison between artists’ representations and the practical tools and strategies implemented in the career management process. The way they organize individual and collective professional activities, in the art world, reaches, to some extent, a local and global radiation

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Stevelt, Kelly A. "Professionalization of Studio Glass Artists." The Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=osu1253978421.

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Rowe, Matthew S. "Crafting the Institutional Self Identity and Trajectory in Artistic Training and Creative Careers." Thesis, University of California, Berkeley, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10816760.

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This dissertation is a study of identity processes in two social domains: higher education and professional careers. Each chapter presents a distinct form of social identity and shows how it serves either as a resource to guide social participation (in the case of careers) or is a product of social participation (in higher education). "Institutional self" is a shorthand term for a pragmatic definition of identity, an ongoing process through which individuals make sense of their own capacities and trajectories as economic agents, in relation to the cues systematically produced in different environments. Each chapter of the dissertation develops a distinct conceptual model related to institutional self-formation, using empirical cases that are of interest to sociologists: the tensions of work in cultural production; formative stages of boundary-spanning careers; and college-level vocational training. Each fills gaps in the sociological research in these areas.

The data used throughout the dissertation come from 106 interviews conducted by the author with students, faculty, and graduates of one art school, Adams College of the Arts (43 students, eight faculty, and 55 graduates). The school is located in a metropolitan area on the West Coast of the United States, where interviews took place in 2012 and 2013. All participants are drawn from two academic departments at the school: Visual Design, centered on the discipline of graphic design, and Media Arts, a mix of several digital media applications. Subsequent qualitative analyses of interview transcripts were primarily inductive, involving several rounds of coding along with development of guiding questions that emerged from observed patterns in interviewees' personal accounts and detailed work histories. Each of the dissertation's three empirical chapters is presented as an independent research manuscript; introductory and concluding chapters frame the conceptual and empirical contributions of the project as a whole.

Chapter 2, "Boundary Work as Career Navigation in Design and Media," looks at how creative workers use rhetorics of creativity to justify preferences for a wide range of working arrangements. Interviewees pursue one of two distinct forms of boundary work: segmentation and integration. Segmentation involves reproducing the institutionalized opposition between artistry and commerce in the temporal and spatial arrangements of working lives. Integration breaks down the boundary, merging the opposing motivations. Each finds expression in a range of career-building practices, from maintaining separate creative projects, to becoming an entrepreneur, or leaving creative work altogether. In closing, the chapter questions the relevance of occupations as a place of sensemaking and belonging for skilled, contingent workers.

Chapter 3, "Self-Assessment and Self-Presentation in Disorderly Careers," looks at a different set of career navigation strategies, based on ongoing accounting of one's capacities in relation to the observed expectations of work roles and environments. The organization of American work has shifted fundamentally in the last few decades. Work in many skilled occupations now takes on patterns long found in creative fields: project-based work and "portfolio careers" that are disorderly, uncertain, and highly mobile. I find that young creatives continually evaluate their skills and personalities in market terms as they experience jobs in different contexts. These self-assessments lead to instrumental investment in "human capital"-both emotional and technical capacities-and self-selection into work roles based on a sense of fit with a firm, project, or industry. The chapter illuminates the experience of boundary-spanning careers, reviving an underdeveloped stream of micro-sociological career theory.

Chapter 4, "Crafting Identity: Two Approaches to Professionalization in Art School," turns to college education as a training ground in occupational identification and preparation for boundary-spanning careers. Professional training is the dominant contemporary form of higher education in America, having surpassed the arts and sciences in the number of undergraduate enrollees and graduates, yet sociologists know little about how students experience the professionalization process at the college level. I find that two departments providing artists with training in commercial art practices create distinct pedagogic cultures within the same school. One prepares students for industry-specific work roles to which students peg their future trajectories; the other cultivates general competencies that are applicable across industries, leaving students to identify likely work roles and career pathways. The analysis provides a conceptually nuanced model drawn from cultural and organizational sociology that is applicable across settings of higher education.

The dissertation concludes with a brief closing chapter that provides an overview of the contributions of each chapter and the project as a whole. It closes with questions for future research that are directly and indirectly informed by these findings that may be useful for sociologists of the arts and media, work and occupations, and culture.

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Montgomery, David Layne. "William Powell Frith (1819-1909) : a reevaluation of his artistic career /." free to MU campus, to others for purchase, 1997. http://wwwlib.umi.com/cr/mo/fullcit?p9841322.

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Smith, Joephine F. "The training, early professional career and publications of the Sheffield artist and art educator Elizabeth Styring Nutt (1870-1946)." Thesis, De Montfort University, 2000. http://hdl.handle.net/2086/5857.

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Rumley, Peter Thomas James. "Sir William Coldstream : catalogue raisonne 1926-1983 and artistic career 1908-1945." Thesis, University of Sussex, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.339384.

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Preece, Chloe. "Branding and the creation of value : an exploration of artistic careers in the visual arts market." Thesis, King's College London (University of London), 2012. https://kclpure.kcl.ac.uk/portal/en/theses/branding-and-the-creation-of-value(44a3bc08-6a63-4f84-a67a-3745887c578b).html.

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In the case of artists, the product they create is inextricably linked to their career in terms of how the art is produced, presented, consumed and positioned and valued in the market. Therefore, this study draws on the careers literature from a marketing perspective by focusing on issues of branding. There has lately been an increasing focus on art enterprises as business organisations which firmly locates discussions of the artist and the art market within the business and marketing literature. However, in the existent literature the visual arts are predominantly researched from the perspective of their economic value or of consumption. Although artists’ careers are considered relevant to branding and marketing theory, identifying how these are constructed and managed, and identity negotiated through this process is an area that needs further development. This research therefore examines artists’ careers in order to understand how value is added to their ’product.’ Branding theory is found to be a useful lens through which to shed additional light on this process. Qualitative analysis of artists’ career trajectories in both the London and Hong Kong art markets (providing the opportunity to compare an established and emerging art market) illustrates how value is co-constructed through relationships whereby artists can build up their social capital. Findings highlight the negotiated and socially constructed nature of authenticity in the arts market as well as the dynamic and unfolding nature of careers, taking into account chance events and the complexity of the influences on an artist’s career, demonstrating a need to consider the macro-level context in the creation of value. The need for marketing not just of the product but also of the artist themselves becomes apparent and the tension this creates is explored.

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Smith, Karen Mary. "In momentum : the navigation, narration, and negotiation of continuing professional development by mid-career artists in south west England." Thesis, University of Plymouth, 2010. http://hdl.handle.net/10026.1/305.

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This thesis explores the Continuing Professional Development (CPD) of mid-career artists in England and the South West of England in particular during 2000 to 2010. It identifies what their needs are and asks what CPD means to them; how they navigate their careers through their practice; how they articulate their needs; and how they negotiate to fulfil those needs. It examines to what extent the providers’ thinking about, and provision of, CPD in the region is aligned with the needs of the artists themselves. The individual narratives of artists are represented at the centre of this research. The research was developed in collaboration with University of Plymouth and the CPD agency, ArtsMatrix Ltd. Research methods used to collect data included extended dialogues with the artists Alyson Hallett, Mariele Neudecker, Helen Poynor and Phil Smith, via a series of walking interviews, using walking as an ethnographic research tool. By walking I engaged with a literal momentum of movement paralleling the physical and theoretical momentums of the artists’ practices. Policy and literature reviews; group interviews; artist interviews; desk-based research; observation and attendance at artist-led seminars and practice groups were also used. The research contrasts two CPD Schemes: The Contemporary Craft Fellowship Scheme, and The Artist as Cultural Agent: DIY. The thesis includes a policy and provision review of CPD literature in the UK and South West of England over the past ten years; a mapping of South West CPD provision for artists; and the identification and application of relevant theoretical and critical approaches to place, space, language and momentum in order to consider CPD provision in relation to the articulation, situation and concept of a career. This thesis argues that the language of CPD can constrain as much as enable artists’ development; that the terms “mid-career” and “South West” are open to contestation and can affect provider conceptualisations of artists in the region; and that artists need professional development throughout their careers but may not name it as such. I advocate for policy and provision to understand artists’ need to be supported “throughout” their practices rather than at certain points in a career, and advocate walking as both a research method and as one of a number of facilitative practices for those who provide CPD with or for experienced artists. I also advocate for artist-led CPD initiatives and an administrative support agency for artists.

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Adorno, Josiane das Graças. "Relações Cruzadas: A Cidade e o artista - Um estudo de caso sobre Uruaçu e a produção artística pública de Louis Bernard Tranquilin." Universidade Federal de Goiás, 2015. http://repositorio.bc.ufg.br/tede/handle/tede/6500.

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Submitted by Jaqueline Silva (jtas29@gmail.com) on 2016-11-16T16:44:56Z No. of bitstreams: 2 Dissertação - Josiane das Graças Adorno- 2015.pdf: 11947110 bytes, checksum: 8ad7cb65b894101cbf78ffe7c03eda38 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)
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Made available in DSpace on 2016-11-16T16:45:08Z (GMT). No. of bitstreams: 2 Dissertação - Josiane das Graças Adorno- 2015.pdf: 11947110 bytes, checksum: 8ad7cb65b894101cbf78ffe7c03eda38 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2015-12-18
The relevance of micro-history is the perspective that accompanies the initial studies that address the history of the founding of the city of Uruaqu, state of Goiås, Brazil, written by memoirist Cristovam Francisco de Avila. The basic structure of the foundation, which originates with the understanding of the city development, culminating in the advent of the formation of the Serra da Mesa Lake and the construction of the Memorial Serra da Mesa, served us as the foundation that supported the story of the trajectory of the french Louis Bernard Tranquilin by this city. The history of Uruaqu City Foundation with a historiographical approach of factual and descriptive evidence Seeking dialogue with narratives as bibliographic Elaborate hair memoirist Cristovam Francisco de Avila. The Character trajectory , Louis Bernard Tranquilin , addressed in any double between city- Subject Movement Character -City .
A relevância da micro-história é a perspectiva que acompanha os estudos iniciais que abordam a Historia da fundação da cidade de Uruaçu, escrita pelo memorialista Cristovam Francisco de Avila. A estrutura basilar da fundação parte do desenvolvimento da cidade, que culminou com o advento da formação do Lago Serra da Mesa e a construção do Memorial Serra da Mesa, serviu-nos como o alicerce que sustentou a história da trajetória do francês Louis Bernard Tranquilin por essa cidade. A história da fundação da cidade de Uruaçu com uma abordagem historiográfica de evidências factuais e descritivas que procuram dialogar com as narrativas bibliográficas elaboradas pelo memorialista Cristovam Francisco de Avila. A trajetória do personagem, Louis Bernard Tranquilin, abordada em no duplo movimento entre cidade-sujeito, personagem-cidade.

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Hanson-Broten, Susan. "Making a living in the performing arts, reform in Canadian postsecondary performing arts curriculum : equipping artists with essential career management skills." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape3/PQDD_0016/MQ57659.pdf.

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Hanson-Broten, Susan (Susan Edith) Carleton University Dissertation Canadian Studies. "Making a living in the performing arts; reform in Canadian postsecondary performing arts curriculum: equipping artists with essential career management skills." Ottawa, 2000.

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Merckel, Andrea Beatrice. "Career structures and artistic diversity in Nazi Germany : a study of award-winning painters under the Third Reich." Thesis, University College London (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.267742.

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Merle, Amélie. "Le livre d'artiste pour enfants : une approche esthétique et socioculturelle de l'enfance." Thesis, Lyon, 2017. http://www.theses.fr/2017LYSE2021.

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Cette thèse observe le phénomène du livre d’artiste pour enfants. L’objectif premier de l’étude est de relier notre objet à une interrogation plus fine concernant la place de l’art et une forme de pratique artistique spécifique dans la construction du concept d’enfance en résonance avec des problématiques éducatives. Nos travaux tentent de mettre au jour une esthétique de l’enfance présente dans un contexte de renouveau socioculturel des années 1968. En effet, c’est dans cette même période que l’on peut observer des mouvements et pratiques artistiques issus de l’avant-garde ayant participés à l’élaboration d’un autre regard sur l’enfance au moyen de l’art pour et auprès de l’enfant. Notre réflexion s’inscrit dans le champ des sciences de l’éducation mais aussi dans celui de l’histoire de l’art car le livre d’artiste fait partie de ces objets hybrides situés à mi-chemin entre le livre et l’œuvre d’art. On interroge ainsi notre objet : si d’une façon générale, le livre pour enfants est porteur d’une certaine représentation qu’une société se fait de l’enfance, s’il est comme un miroir de ce qu’elle souhaite offrir comme modèles d’enfances, le livre spécifique qui nous intéresse, le livre d’artiste pour enfants, ne peut-il pas nous dire lui aussi quelque chose de spécifique au sujet de l’enfance d’aujourd’hui ? Afin d’appréhender notre objet dans toutes ses dimensions, il semble pertinent d’interroger l’évolution de l’image de l’enfance dans le livre mais également d’interroger les artistes qui créent les livres artistiques destinés à la jeunesse comme Leszek Brogowsky (2010) le préconise dans le cadre d’une méthodologie d’étude des underground artistiques. On procède alors à un examen attentif des livres d’artistes considérés comme des dispositifs, des espaces alternatifs (Dupeyrat, 2012), lieux d’expression d’un certain regard porté sur l’enfance. C’est en interrogeant les artistes, en tentant de retracer leur trajectoire (Passeron, 1990) que notre objet deviendra également plus lisible et visible. Pourquoi des artistes à part entière ont fait ce choix de créer pour l’enfance ? En quoi le livre d’artiste pour enfants peut-il être représentatif d’un nouveau regard sur l’enfance ? Nos travaux mettent au jour des regards croisés afin d’observer l’art et l’enfance autrement
This thesis observe the phenomenon of the artist book for children. The primary objective of the study is to link our object to a deeper questioning concerning the place of art and how a form of specific artistic practice can take part in the concept of childhood and educational issues. The research attempt to clarify an aesthetic of childhood in the years 68, a significant development in a context of socio-cultural change in progress. Indeed, it is in this same period we can observe avant-garde artistic movements and practices which take part in the development of another perspective on childhood with art for and with children. Our reflection is in the field of the sciences of education but also in the history of art because the artist's book is part of these hybrid objects located halfway between the book and the work Of art. We question our object: if in a general way, the children's book carries a certain representation that a society makes of childhood, if it is like a mirror of what it wants to offer as Models of childhood, the specific book that interests us, the artist's book for children, can not it also tell us something specific about the childhood of today? In order to understand our object in all its dimensions, it seems pertinent to question the evolution of the image of childhood in the book but also to question artists who create art books intended for youth such as Leszek Brogowsky (2010) advocates it in the context of the study of specific artistic practices . We then proceed to a careful examination of artists' books considered as devices, alternative spaces (Dupeyrat, 2012), places of expression of a certain regard focused on childhood. It is by interrogating the artists, while trying to retrace their trajectory (Passeron, 1990) that our object will also become more readable and visible. Why have full-fledged artists made this choice for creation for childhood? How can the artist book for children be representative of a new look at childhood? Our work wish brings to light new looks to observe art and childhood otherwise

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Fürst, Henrik. "Selected or Rejected? : Assessing Aspiring Writers’ Attempts to Achieve Publication." Doctoral thesis, Uppsala universitet, Sociologiska institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-312277.

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In many markets for cultural goods, gatekeepers select the cultural goods, relatively few cultural goods are selected, and the criteria for selection are unclear to both artists and gatekeepers. Not knowing whether cultural goods are of the 'right' quality to be selected, artists and gatekeepers become preoccupied with handling quality uncertainty. This thesis studies such handling of quality uncertainty before, during, and after aspiring writers attempt to succeed in the publishing market. Drawing on eighty interviews with mainly aspiring writers and publishers in Sweden, three papers investigate three phases of handling quality uncertainty in the publishing market. First, in attempting to get published, writers handled uncertainty about how the quality of their work would be evaluated in the publishing market by using appraisal devices: trusted, knowledgeable appraisals of their work’s chances of success or failure on the publishing market. Second, publishers responded to uncertainty about the quality of manuscripts by learning to consider means before ends, such that certain qualities of their reading experience became the necessary means for realizing that the manuscript might be publishable. This realization moved the manuscript from the discovery phase to justification phase, in which publishers made a final decision to select or reject the manuscript. Third, for the rejected writer, the uncertainty of not knowing how the publisher had determined the quality of the manuscript made it possible to excuse the course of events. Writers gave reasons why their manuscript had been rejected based on how they imagined publishers had determined its quality. They accepted the occurrence of failure but dismissed the responsibility for having failed. Writers also engaged in justifications, refusals, and concessions of the perceived failure. These concepts for analyzing the publishing market are based on a perspective that takes into account subjectivity, temporality, and the condition of quality uncertainty. The perspective and concepts are useful for understanding other market situations in the cultural industries, wherein the successful hiring of cultural workers and the acquisition of cultural goods are rare relative to the number of aspirants, and wherein assessments are conditioned by quality uncertainty that needs to be handled.
ERC 263699-CEV

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Provansal, Mathilde. "Artistes mais femmes : formation, carrière et réputation dans l'art contemporain." Electronic Thesis or Diss., Paris 1, 2019. http://www.theses.fr/2019PA01E051.

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Les plasticiennes sont sous-représentées aux plus hauts niveaux de la réputation artistique, symbolique et économique alors même qu’elles sont majoritaires au sein des écoles d’art et de la population des plasticien.ne.s. Située au croisement de la sociologie du travail, du genre, de l’art et de l’éducation, cette thèse explique ce paradoxe. Elle analyse la fabrique des inégalités de genre au sein d’une école d’art très prestigieuse et ses effets sur l’entrée, le maintien et l’accès à la réputation de ses diplômé.e.s dans l’art contemporain. La construction genrée des carrières artistiques est mise en évidence grâce à l’articulation de données quantitatives issues d’un palmarès d’artistes (ArtFacts), d’entretiens biographiques et d’observations. Qu’il s’agisse du recrutement dans l’école, de la sélection dans un atelier, des « petits boulots » exercés, d’être invité.e à exposer et d’être représenté.e par une galerie, la disparition progressive des femmes se joue autour de jeux de cooptation. À différents moments de la carrière, des stéréotypes sexués pèsent sur l’évaluation de la qualité artistique des femmes et de leurs œuvres, le stigmate de la maternité restreint leur employabilité et leur hétérosexualisation limite les possibilités d’autopromotion. L’accès aux conventions du monde de l’art contemporain et l’insertion dans des réseaux professionnels, en particulier sur le marché de l’art, sont sexuellement différenciés. Néanmoins, diverses ressources sociales, économiques, scolaires ou institutionnelles permettent à certaines femmes de contourner les contraintes qui pèsent sur les carrières artistiques féminines et d’accéder à la réputation
Women artists are underrepresented at the highest levels of artistic, symbolic and economic reputation, although they make up the majority of art school students as well as artists. Drawing on sociology of work, gender, art and education, this PhD dissertation explains this paradox. It analyses the making of gender inequalities within a very prestigious French art school and how these affect the entrance into an artistic career, survival in the profession and access to reputation of its graduates in contemporary art. The joint analysis of quantitative data from an artist ranking (ArtFacts), biographical interviews and ethnographic observations sheds light on the gendered construction of artistic careers. Whether it is during the recruitment by the art school, the selection in a studio, student jobs, the invitation to exhibit one’s work or being represented by a gallery, women’s gradual disappearance plays out in co-optation processes. At different stages in the career, the stigma of motherhood restricts their employability and their heterosexualization limits opportunities for self-promotion. Access to the conventions of the contemporary art world and integration into professional networks, particularly in the art market, are sexually differentiated. Nevertheless, different social, economic, educational or institutional resources allow some women to bypass the constraints weighing on women’s artistic careers, and to gain reputation

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Blum, de Almeida Nina [Verfasser], Isabel [Akademischer Betreuer] Wünsche, Isabel [Gutachter] Wünsche, Corinna [Gutachter] Unger, and Matos Lúcia [Gutachter] Almeida. "Myths, Curious Incidents and Obstacles—Becoming an Artist in Portugal. The Early Career of German Sculptor Hein Semke / Nina Blum de Almeida ; Gutachter: Isabel Wünsche, Corinna Unger, Lúcia Almeida Matos ; Betreuer: Isabel Wünsche." Bremen : IRC-Library, Information Resource Center der Jacobs University Bremen, 2019. http://d-nb.info/1202364667/34.

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Swan, Marilyn Rose. "HAYASHI YASUO AND YAGI KAZUO IN POSTWAR JAPANESE CERAMICS: THE EFFECTS OF INTRAMURAL POLITICS AND RIVALRY FOR RANK ON A CERAMIC ARTIST’S CAREER." UKnowledge, 2017. https://uknowledge.uky.edu/art_etds/15.

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The use and firing of clay to make art instead of vessels was a revolutionary concept in Japan when it first was introduced by Hayashi Yasuo in 1948 with Cloud, and expanded upon by Yagi Kazuo in 1954 with Mr. Samsa’s Walk. Although both avant-garde artists were major forces in the advancement of abstract, nonfunctional ceramics, Yagi is usually given sole credit and occupies a prominent place in the literature, while Hayashi’s name can scarcely be found, despite his numerous international awards, large body of work and career spanning seven decades. This thesis seeks to identify the factors that influenced the direction of their careers and the unbalanced reception of their work. It compares their backgrounds, personality traits, avant-garde affiliations, and positions on art and ceramics, in relation to the norms and prerequisites for success in Kyoto’s deeply stratified, convention-bound ceramic community. The pervasive practice of rating and society’s emphasis on affiliation and rank were significant forces in this situation, as were issues that divided Japan’s art world -- the separation and unequal ranking of fine art and traditional craft, or the value of individual expression versus technique and tradition. Ultimately, this study reveals an insular world during a decade (1946–56) of crisis and transition that is rarely studied in the West from the perspective of ceramic art.

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Rosin, Priscila. "As fases pictóricas de Wega Nery." Universidade Presbiteriana Mackenzie, 2011. http://tede.mackenzie.br/jspui/handle/tede/1826.

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Fundação de Amparo a Pesquisa do Estado de São Paulo
Wega Nery (1912-2007) was a Brazilian artist with 60 years of artistic career and cataloged over 1000 works. In this long history, there were artistic works from different phases, which were: Academic Influences ; Formal Studies ; Drawing ; Stained Glass ; Transition and Expansion ; Imaginary Landscapes ; Mitigation . Wega began her career in 1946 with figurative works, fruits of her period of study at the School of Fine Arts, theses works brought nostalgic themes of childhood, showing the home and family environment of the artist. After designing her painting and pictorial representation and deepen the studies of painting, Wega entered in black and white world of non-referrals and non-realities, it was the phase of the ink monochrome drawings. As your freedom to represent the actual increased, the color reappeared, now in abstraction with small-format screens, even geometric drawing and palette contained, informally known as "Stained Glass". In the 60‟s and 70‟s, the gestural painting has become a tool of expression in the creation of the artist, who worked with generous flicks forming large patches of vibrant colors, made with a spatula that followed her emotional impulse, it was the phase "Imaginary Landscapes". In the mid-80‟s, due to advanced age, the artist has slowed her production, which set the phase Mitigation . During this entire period devoted to art, Wega developed her artistic language and won national and international recognition. The "Portraits" were also important works that have appeared in most Wega pictorial phases
Wega Nery (1912-2007) foi uma artista plástica brasileira com trajetória de 60 anos de carreira artística e mais de 1000 trabalhos catalogados. Nessa longa trajetória, surgiram trabalhos artísticos de diferentes fases, sendo elas: Influências Acadêmicas ; Estudos Formais ; Desenhos ; Vitrais ; Transição e Expansão ; Paisagens Imaginárias e Suavização . Wega iniciou sua carreira, em 1946, com obras figurativas, frutos de seu período de estudo na Escola de Belas Artes, que traziam temas nostálgicos da infância, evidenciando ambientes domésticos e familiares da artista. Após estruturar sua pintura e representação pictórica e se aprofundar nos estudos da pintura, Wega adentrou no mundo preto e branco das não-referências e não-realidades, foi a fase dos desenhos monocromáticos a nanquim. À medida que sua liberdade de representar o real aumentava, a cor ressurgia, agora na abstração com telas de pequenos formatos, desenho ainda geométrico e paleta contida, informalmente conhecidas como Vitrais . Nos anos 60 e 70, a pintura gestual tornou-se um instrumento de expressão na criação da artista, que trabalhava com pinceladas generosas formando largas manchas de cores vibrantes, feitas com uma espátula que seguia seu impulso emotivo, era a fase Paisagens Imaginárias . Em meados dos anos 80, devido à idade avançada, a artista desacelerou sua produção, o que configurou a fase Suavização . Durante todo esse período de dedicação à arte, Wega desenvolveu sua linguagem artística e conquistou reconhecimento nacional e internacional. Os Retratos também foram obras importantes, que apareceram na maioria das fases pictóricas de Wega

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Bennedicks, Linnea, Persson Niklas Jarelius, and Johanna Stjernström. "Hur tar jag mig förbi det här? : En kvalitativ studie om självledarskapets fördelar i artisters karriärer." Thesis, Linnéuniversitetet, Institutionen för organisation och entreprenörskap (OE), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-79402.

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Artistyrket tycks ha genomgått en förändring på grund av digitaliseringen. Förändrade förutsättningar tycks ha gett artistyrket en mer entreprenörspräglad sida där ansvaret över sin karriär har ökat hos artister. Studien har en utgångspunkt i fenomenet självledarskap samt vilken roll självledarskapet spelar för artister, och vi besvarar frågan: På vilka sätt kan självledarskap vara en fördel i artisters karriärer? Syftet med studien är således att undersöka vilken positivt bidragande roll självledarskap har i artisters karriärer. Studien har en kvalitativ deduktiv ansats med utgångspunkt i teorier kring självledarskap och motivation. Data är insamlad med hjälp av strukturerade intervjuer med etablerade artister med frågor baserade på teorierna. Genom dessa intervjuer kunde vi se att en rad egenskaper hos artisterna som tyder på att olika typer av självledarskap är till fördel i en artists karriär. Slutsatsen landar i en modell över vad vi såg vara de viktigaste rollerna som självledarskap har till fördel för artister.
The artist profession seems to have undergone a change due to the digitization. Changed conditions seem to have given the artist profession a more entrepreneurial side where the responsibility for their career has increased. The study has a starting point in the phenomenon of self-leadership and what role self-leadership plays for artists, and we answer the question: In which ways can self-leadership be an advantage in an artist’s career? The purpose with this study is therefore to examine what positive contributing roles self-leadership has on artist’s careers. The study has a qualitative deductive approach based on theories of self- leadership and motivation. Data is collected using structured interviews with established artists with questions based on the theories. Through these interviews we found some characteristics among the artists that suggests that some specific kinds of self-leadership are an advantage for an artist’s career. The conclusion in the study lands in a model of what we saw were the most important roles that self-leadership has for artists.

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Condamine, Romain. "Charles Michel-Ange Challe (1716-1778) : peintre d’histoire et dessinateur de la Chambre et du Cabinet du Roi. Mobilité sociale et professionnelle d’un artiste au XVIIIe siècle." Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL013.

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Issu d’une famille d’artisans parisiens, loin des dynasties d’artistes qui émaillent l’époque moderne, Charles Michel-Ange Challe (1716-1778), peintre d’histoire, professeur de géométrie et de perspective à l’Académie royale, puis dessinateur de la Chambre et du Cabinet du roi, témoigne d’une émancipation professionnelle caractérisée. Parallèlement, la trajectoire personnelle de l’artiste, né de parents fort modestes, atteste une mobilité sociale certaine, marquée par nombre de reconnaissances tels que ses appartenances académiques, ses liens privilégiés avec la famille Nattier et la progression remarquable de sa situation économique, culturelle et sociale. Ponctué d’autant de chaos que de victoires, le parcours de Michel-Ange Challe, tantôt agissant, subordonné, contraint ou émancipé, éclaire à de nombreux égards, la situation des artistes parisiens au milieu du XVIIIe siècle
Charles Michel-Ange Challe (1716-1778) began as an History painter, a professor of geometry and perspective at the Royal Academy in Paris, before being appointed as Dessinateur de la Chambre et du Cabinet du roi. He was born among a family of Parisian craftsmen, with no link with the numerous dynasties of artists flourishing during this era. The way he pursued his life attest to his outstanding professional emancipation. At the same time, the personal life of the artist, whose background was very modest, attest to a certain social mobility, marked by many recognitions such as his academic affiliations, his links with the Nattier family and the exceptional progress of his economic, cultural and social situation. Punctuated by as many chaos as victories, the career of Michel-Ange Challe, alternately acting, subordinate, forced or emancipated, illustrate in many ways the situation of the parisian artists in the mid of the 18th century

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Du, Toit Jan Johannes Bernardus. "Intuïsie en die belangstelling in kreatiewe denke- en artistieke beroepe by studente / J.J.B. du Toit." Thesis, North-West University, 2004. http://hdl.handle.net/10394/244.

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The research examined the links between intuition, interest in creative thought and the artistic interests of students. Most literature in the past linked intuition with creativity and artistic aptitude, but the question about the specific influence thereof on choosing an artistic career led to many different perspectives. The influence of thoughts and feelings on intuition was examined, as well as their connection to artistic inspiration. The researcher proposed that these factors provide a basis for an artistic career. Research was done on the links between interest in creative thought, artistic interest and intuition. The difference in correlation between intuition and Fine Arts and Performing Arts was also examined. The literature study focused on Jung's typology of personality, and his descriptions of intuition, feelings, thoughts, creative thoughts, art, artistic interest and inspiration, fine arts and performing arts, and their links with intuition. Quantitative research was done as a once-off cross-sectional design. Eight hundred and sixteen students of the University of Pretoria were included in the quantitative research. Intern Psychologists of Student Support Services evaluated these participants with the Jung Personality Questionnaire (JPQ), the South African Vocational Interest Inventory (SAVII) and the 19-Field Interest lnventory (19-FII). Two-directional frequency analyses were used to determine the links between the results of the intuition factor and the feeling and thought factors of the JPQ. The Spearman correlation coefficients were used as measures of the strength of general relation between the results of the intuition factor of the JPQ and the results of Fine Arts, Performing Arts and Creative Thought of the 19-FII and the A 2 (Creative design) and A 3 (Entertainment) of the SAVII. Variance analyses were used to determine the influence of intuition on interest in Fine Arts and Performing Arts. The responses to interview schedules by participants from two focus groups, namely 5 second year Drama students and 5 Fine Arts students, were analysed in the qualitative research. Most participants from the quantitative study fell within the intuition-feeling category and the percentage of participants in the intuition-feeling category was greater than those in the intuition-thought category. Results were supported by the qualitative study. The conclusion was drawn that intuition is more linked to feeling than is thought. Inspiration for art does develop from feeling, but it will be communicated by thoughts, after interplay between intuition and feeling. The quantitative study confirmed that intuition plays a bigger role than sensation when there is interest in careers requiring creative thought. Interest in creative thought also showed a positive link with interests in fine arts and performing arts. The conclusion was drawn that intuition plays an important role in occupations involving interest in creative thought. However, interest in creative thought is still dependent on feeling for verification in the creative process. The research showed that intuition, a personal life-long passion, or love of art were determining factors when an artistic career choice was made. It was therefore concluded that intuition has a strong relation to artistic interest. It was determined that intuition, as well as factors such as a person's strengths and weaknesses, and knowledge of the requirements and demands of success, work together in shaping an artistic career choice. Intuition showed a tendency for a greater correlation with Fine Arts than with Performing Arts. The research had certain deficiencies, as it was only conducted on university students and it did not make provision for environmental influences. The qualitative research was too structured and the JPQ was not developed initially for quantitative analyses. The examination of interest in creative thought could not provide an explanation of the complete creative process. However, the research was of value to counselling psychologists for making career recommendations, as it provided valuable information in artistic careers. It also created a possible framework for future research on the assessment of artists to assist them in developing and reaching their full potential.
Thesis (M.A. (Psychology))--North-West University, Potchefstroom Campus, 2004.

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Bender, Natália. "A ginástica artística no Rio Grande do Sul : a trajetória esportiva da atleta adrian gomes." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2018. http://hdl.handle.net/10183/184617.

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Esta dissertação teve como objetivo descrever e analisar a trajetória esportiva da atleta Adrian Gomes na ginástica artística considerando sua atuação no cenário nacional e internacional. Para tanto, a pesquisa está fundamentada teórica e metodologicamente na História Oral a partir da variante da História de Vida. Como fontes, foram utilizadas entrevistas com a atleta, técnicos/as da modalidade, ginastas e familiares que tiveram envolvimento na sua trajetória e que pudessem auxiliar na construção da narrativa. As entrevistas foram cotejadas com outras fontes como reportagens, livros, artigos acadêmicos e atlas esportivos. A análise de conteúdo foi utilizada como ferramenta analítica, considerando as etapas de pré-análise, exploração do material empírico e tratamento dos dados. A análise se apresenta na forma de três estudos independentes interligados que dão conta de narrar a trajetória esportiva de Adrian Gomes. O primeiro estudo discute a participação dos/as ginastas gaúchos/as nos Jogos Olímpicos. O segundo estudo aborda a primeira fase da carreira da ginasta. E o terceiro e último estudo trata sobre a retomada da atleta na ginástica, após um período sem treinar, e o ponto alto de sua trajetória, a convocação para a seleção brasileira e a participação nos Jogos Olímpicos de 2012. Foi possível constatar através da trajetória da Adrian aspectos relacionados à ginástica no Rio Grande do Sul, assim como questões específicas de sua trajetória.
This dissertation had the objective to describe and analyze Adrian Gomes’ sports career in the artistic gymnastics, taking into consideration her role in national and international scenarios. Therefore, this research is theorically and methodologically founded in Life History as variant of Oral History. The sources used are interviews made with the athlete, artistic gymnastics coaches, gymnasts and relatives that have been involved in her career and that could assist in this work development. The interviews were compared with other sources such as press reports, books, academic articles and sports atlas. Content analysis was used as analytical tool, taking into consideration the stages of pre-analysis, exploration of empirical material and data processing. The analysis is presented in the form of three independent but entwined studies that tell Adrian Gomes’ sports career. The first study discusses the participation of gymnasts from Rio Grande do Sul in the Olympic Games. The second one talks about the first stage of Adrian Gomes’ career. The third and last study is about the athlete’s return to gymnastics, her career apogee, and her participation in 2012 Olympic Games. By means of Adrian’s career, it was possible to evidence aspects related to gymnastics in Rio Grande do Sul as well as specific issues of her career.

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Schiller, Selma. "The acquisition of essential characteristics required for a contemporary graphic design career." Thesis, University of Pretoria, 2013. http://hdl.handle.net/2263/32970.

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In my eleven years of teaching graphic design at Tshwane University of Technology, I have come to realise that education is more than just teaching a student the fundamentals, techniques and new technologies, it is also about their personal development. I conducted this study to ensure that my educational practices challenge my graphic design students to acquire the essential characteristics – or more profoundly, the essential human qualities -‐ required for a contemporary graphic design career through which the quality of life for all will be enhanced. The study is a participatory action research study involving the second and third year graphic design students at Tshwane University of Technology. It involved five action intervention cycles. In the first cycle I explored the current graphic design education practices in order to determine whether these practices ensure the acquisition of such essential human qualities that a graphic designer should posses. The acquisition of such human qualities has become paramount because of the ethical imperative that graphic designers can change the world (Berman, 2009). I found that my current graphic design education practices as they relate to the commonly most dominant practices are not sufficient to accomplish this purpose. During the research I was exposed to a paradigmatically innovative education practice that focuses on maximizing human potential and it was adopted to improve my existing education practice. Through four additional action intervention cycles I provided evidence that indicated that my improved education practice contributed to my students’ acquisition of an identified four sets of essential human qualities: the artistic quality of creativity; the professional quality of continuous, independent, increasing expertise in creativity within an interdependent, co-‐operative value based community of graphic design practitioners; the personal quality of maximizing human potential; and the leadership quality of an enlightened change agent. The primary focus on the acquisition of these essential human qualities through the proposed method of graphic design education, also allows for the gaining of the necessary graphic design knowledge and skills (Barnett, 2007:101).
Thesis (PhD)--University of Pretoria, 2013.
gm2013
Humanities Education
Unrestricted

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Campbell, Alasdair James Islay. "Myth ascendant : issues of culture, media, and identity in the celebrity career of Glenn Gould." Thesis, University of Oxford, 2018. http://ora.ox.ac.uk/objects/uuid:6b53c88e-d9e7-4227-9144-bad890a0d3fc.

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This thesis applies a sociological framework to the North American celebrity career of Canadian pianist and broadcaster Glenn Gould (1932-1982) to account for Gould's iconic status as an artist in modern musical culture. Despite the persistent cultural fascination with Gould, as evidenced in the seemingly endless supply of biographies, films, novels, and fan texts which narrate and celebrate his life and work, modern Gould scholarship has consistently neglected issues relating to his artistic reception. This thesis proposes that the modern Gould phenomenon is productively analysed in terms of the contexts of its historical production in North America, where it first originated. Focusing on the circumstances of Gould's career during his lifetime, it identifies three areas of overlapping conceptual interest that provide the basis for an explanatory account of his modern mythology: i) Gould's relationship to the culture of his time, particularly in Canada; ii) Gould's relationship to the mass media; iii) Gould's relationship to his own artistic identity. This approach is refined through the application of Stuart Hall's 'Circuit of Culture' model, which yields an understanding of Gould's celebrity in terms of the processes of its representation, production, regulation, and consumption. Against this theoretical backdrop, and consistent with the premise of my thesis, I ask some key questions: what was Gould's relationship to Canadian cultural nationalism and, specifically, a nationalist discourse of public broadcasting? How did media institutions brand his image, and for what commercial purposes? How did Gould mobilise understandings of his genius and Canadian identity through his artistic discourse and experimental media self-representations as a 'Northerner' and a technologist? Based on this analysis, the thesis concludes that Gould continues to fascinate because of the unique ideological work performed by his cultural identities, and because of the highly mediated nature of his celebrity. The ubiquity of his image on video-sharing websites and social media platforms is a vindication of his radical belief in the validity of a musical career pursued primarily through the electronic media.

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Costa, Vitor Ricci. "O encerramento da carreira esportiva na Ginástica Artística Feminina do Brasil." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/109/109131/tde-25062018-152948/.

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A formação de um atleta de alto rendimento exige anos de trabalho. O caminho para o sucesso é longo e os atletas dedicam parte de suas vidas integralmente ao esporte. Esse é um dos motivos do encerramento da carreira esportiva ser permeado de incertezas e com sentimentos positivos e negativos aflorados. Na Ginástica Artística Feminina (GAF) esse contexto pode ser acentuado, pois a formação esportiva leva em média 10 anos. E, para chegar ao ápice inicia-se o treinamento especializado cedo e a carreira esportiva costuma terminar na adolescência. Compreender esse processo é essencial para repensar fatores que contribuiriam no desenvolvimento das ginastas. Assim, este estudo analisou a carreira esportiva de 7 Ex-ginastas brasileiras, que encerraram a trajetória atlética antes dos 20 anos de idade, com intuito de identificar potencias fatores que contribuíram para sua aposentadoria. Para obtenção dos dados realizamos entrevistas semiestruturadas. E, para o tratamento dos dados recorremos à técnica de Análise de Conteúdo (BARDIN, 2010). Identificamos três temas e suas respectivas categorias que representam etapas importantes da carreira esportiva das ginastas: Motivação para o início da prática de Ginástica Artística (GA); Motivação para permanência na GAF; Encerramento da carreira esportiva. Na iniciação esportiva das atletas encontramos indícios tanto da motivação intrínseca, quanto da motivação extrínseca. Entretanto, identificamos que as ginastas apresentaram maior influência extrínseca, principalmente, advinda dos pais. Na ascensão ao alto rendimento da GAF a influência extrínseca do treinador e da família e a meta de participar dos Jogos Olímpicos (JO) foram fatores preponderantes para permanência na modalidade. Por outro lado, não desconsideramos a importância dos fatores intrínsecos, como o \"amor\" pela modalidade, que é fundamental para as ginastas se manterem engajadas na GAF. Analisamos o comportamento da motivação ao longo da carreira das ginastas e encontramos as implicações desse processo no encerramento da trajetória atlética. Identificamos que não há aspectos isolados que determinam a aposentadoria das ginastas, mas sim a interação de fatores. Ainda, analisamos as adaptações e dificuldades nesse momento de transição e evidenciamos a falta de planejamento no encerramento da carreira esportiva. Nossos resultados evidenciam que não há momento ideal para o encerramento da carreira esportiva na GAF, pois as circunstâncias definem esse momento. Mas, as ginastas devem ser orientadas que a carreira esportiva é efêmera e que qualquer fato pode por fim inesperado na vida esportiva. Ressaltamos que as atletas devem ser preparadas e estarem prontas para esse momento.
The high performance athlete\'s development requires intense work. The road to success is long and athletes integrally dedicate part of their lives to the sport. That is why sport retirement can be traumatic in some cases. This frame can be acute in Women\'s Artistic Gymnastics (WAG), because athlete\'s development takes in average 10 years, the specialized training starts early to reach the top and the sport career usually end in adolescence. Understanding this process is essential to rethink the athlete\'s development. Therefore, this study analyzed 7 Brazilians ex-gymnasts\' sport career, who retired from WAG before 20 years old, and it identified factors that contributed to their retirement. We apply a semi-structured interview to collect the data and the technique of \"Content Analysis\" (BARDIN, 2010) to treat it. We identified three themes and their respective categories that represent important stages of gymnasts\' sport career: motivation for the beginning in Artistic Gymnastics\' (AG) practice; Motivation to remain in WAG; Retirement in WAG. We find intrinsic and extrinsic motivation evidences in athletic initiation. However, we identified more extrinsic influence, mainly by the parents. In the rise of high performance WAG the extrinsic influence by the coaches and the family and the goal to participate of the Olympic Games (OG) were preponderant factors. On the other hand, intrinsic factors, such as \"love\" for WAG, are fundamental to the gymnasts\' engagement in the sport. We analyzed the motivation\'s behavior throughout the gymnasts\' career and we found this process implication in sport career\'s end. We found out that there is no isolated aspect in the gymnasts\' retirement, but the interaction of factors. Furthermore, we analyzed the adaptations and the difficulties in this transition moment and we observed that the lack of planning in the gymnasts\' sport career\'s end. Our results show that there is no perfect moment for the retirement in WAG, because the circumstances define this moment. However, gymnasts should be advised that the sports career is not eternal and that any fact can unexpectedly end the sport life. More importantly, they must be prepared and ready for this moment.

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Monnier, Franck. "L'Opéra de Paris de Louis XIV au début du XXe siècle : régime juridique et financier." Thesis, Paris 2, 2012. http://www.theses.fr/2012PA020072/document.

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Dès le XVIIIe siècle, l’Opéra de Paris est considéré comme un « établissement public ». Ses missions sont nombreuses. Le théâtre doit proposer traditionnellement aux spectateurs des ouvrages lyriques appartenant à un genre national, mais son rôle est aussi de représenter le pouvoir politique, de servir les relations diplomatiques, ou encore de soutenir un pan de l’artisanat. Le fonctionnement du « service public de l’Opéra » soulève des questions d’ordre public et de gestion. Un encadrement normatif a été mis en place. La police des spectacles a été réformée et adaptée aux singularités de l’établissement : le régime de la censure, la surveillance policière, comme les dispositifs de lutte contre les incendies ont été l’objet de mesures précises. La gestion du théâtre a connu plusieurs bouleversements. Les autorités ont hésité entre un système ambigu de délégation à des entrepreneurs subventionnés et un mode de gestion en régie directe. Ces réformes institutionnelles ont eu des incidences sur la condition juridique des interprètes, comme sur le déroulement des carrières et l’organisation de leur caisse de pensions. Toutes les informations nécessaires à l’élaboration de ce travail ne se trouvent pas dans les règlements. La méthode a été de croiser les sources juridiques avec les archives administratives et les bilans comptables, afin de confronter la marche effective de l’établissement avec le fonctionnement « idéal », imaginé dans les bureaux, loin des difficultés matérielles d’exécution. Cette étude révèle la force normative des usages en matière d'administration, ainsi que le phénomène de détournement des textes par les administrateurs. Ce mode de fonctionnement, souvent ignoré de la bureaucratie, demeure le seul élément de stabilité à l’Opéra, depuis le règne de Louis XIV jusqu’à la IIIe République
Since the eighteenth century, the Paris Opera has been considered to be a “public service corporation”. Many missions were assigned to the theatre: the Opera should traditionally offer the viewer lyrical opuses in a national genre, but it’s role was also to represent the authorities, serve foreign affairs and support a section of the craft industry. The functioning of the "public service of the Opera” raises questions of public order and management. A legal framework was implemented. The police for the theatres was reformed and adapted to the peculiarities of the activity: censorship, police surveillance and fire fighting arrangements were organized by specific measures. The administration of the Opera underwent several upheavals. The authorities hesitated between an ambiguous system of delegation to subsidized contractors and direct state control (or local government control). These institutional reforms had an impact on the legal status of the artists, on the development of their careers and on the organization of their pension fund. All the information necessary for the development of this work is not to be found in the legal regulations. Our method was to cross the legal sources with administrative records and balance sheets, in order to compare the actual running of the theatre with it’s "ideal" functioning, planned in offices, far from the material difficulties of the actual execution. This study reveals the normative force of customary uses in administration, as well as the phenomenon of diversion of the rules by the administrators and the staff. This mode of functioning, often unknown to the bureaucracy, remains the only element of stability in the Opera, since the reign of Louis XIV until the Third Republic

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Stanley, Denise Y. "Teaching Is My Art Now." University of Sydney, 2008. http://hdl.handle.net/2123/2653.

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Doctor of Philosophy
This arts-informed inquiry is grounded in the lived experiences of five self-proclaimed artists including the researcher, who have turned to careers in teaching at varying stages of their lives. The stories of their transitions and evolving identities as both artists and teachers provide the investigative focus for this study. Although this research is relevant to teachers more generally, it specifically focuses on those who have chosen to teach Visual Arts. Particularly suited to a postmodern, arts-informed inquiry, the diverse forms of knowing that create our everyday experiences are acknowledged. The researcher became the bricoleur who collaged the individual stories of the first year artist-teachers into an integrated work of art. This constructivist approach included the use of visual imagery to transcend linguistic description. Through artworks, photographs, a self-narrative and novelette, the multiple ways these early career Visual Arts teachers came to understand themselves and their journeys are explored. This study has the potential to inform novice teachers of the transitions they may experience as they enter the teaching profession. Possible challenges, including the recognition that idealised beliefs might be traded in for more realistic representations, are discussed along with the notions of teaching as an art and the concept of resilience.

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Lacerda, Júlia Fernandes. "A dramaturgia de Hilda Hilst : percursos e diálogos entre o dramático e o não dramático." Universidade do Estado de Santa Catarina, 2013. http://tede.udesc.br/handle/handle/1272.

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A dissertação intitulada ¿A dramaturgia de Hilda Hilst: Percursos e diálogos entre o dramático e o não dramático¿ é um estudo sobre a escritora Hilda Hilst (1930-2004) e sua obra, com enfoque na sua produção dramatúrgica. No primeiro capítulo desta pesquisa, apresento um panorama da trajetória literária da autora, iniciando por sua poesia até chegar à sua escrita dramatúrgica, destacando as influências formais, estruturais e temáticas que reverberaram em seus textos teatrais, bem como as particularidades deste gênero e sua relação com o contexto sócio histórico em que foi produzido. No segundo capítulo, faço uma apresentação e uma reflexão sobre linguagens teatrais (dramático; simbolismo; absurdo; performativo) com as quais dialoga a produção teatral da escritora. Por fim, no terceiro capítulo, faço uma análise de três peças da autora, sendo elas O rato no muro, Auto da barca de Camiri e As aves da noite, partindo de teorizações sobre a estrutura textual, a construção da figura teatral, a alegorização, o símbolo e as qualidades políticas dos textos teatrais em análise.

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Porter, John Martin II. "Navigating Uncertainty in Automotive Technology Instruction: The Subjective Experiences of Automotive Instructors During Laboratory Activities." Antioch University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1516144181836589.

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Cappelle, Laura. "Nouveaux classiques. La création de ballets dans les compagnies de répertoire." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA157.

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Cette thèse a pour objet d’étude les processus d’élaboration de nouveaux ballets dans les compagnies de répertoire. À travers une enquête internationale, elle se propose d’interroger dans une perspective sociologique la situation de création spécifique qui est celle des chorégraphes de formation classique, insérés dans des institutions vouées principalement à l’entretien d’un répertoire d’œuvres existantes. Leurs trajectoires professionnelles et les différences genrées qu’elles mettent en évidence y sont élucidées, ainsi que la dimension fondamentalement collective d’un travail artistique qui implique la coopération d’autres acteurs, notamment les interprètes et les répétiteurs. À partir des formes d’incorporation et de circulation du mouvement, des logiques de création se dégagent, qui permettent d’interroger la nature de l’autorité créative du chorégraphe.Appuyé sur l’observation des répétitions de cinq créations au Ballet du Bolchoï, au Ballet de l’Opéra de Paris, à l’English National Ballet et au New York City Ballet, ce travail est complété par 29 entretiens et une base de données recensant toutes les créations des compagnies étudiées entre 2000 et 2016. Ces données croisées permettent de faire ressortir l’imaginaire commun qui sous-tend le travail des chorégraphes au XXIe siècle, les différences entre les quatre pays ainsi que les tensions propres à une forme de création identifiée comme classique
Creativity within classical art forms is often underrated, and little is known about what it takes to craft a new ballet. This thesis explores the process of making new works in ballet companies today from a sociological perspective. Drawing on original field work in four countries, it looks at the specificity of the creative endeavours of ballet-trained choreographers, who work in institutional contexts where creation is allowed only limited space in comparison to the existing repertoire. The career trajectories of classical choreographers are addressed along with gender biases in the field. An in-depth look at the ways in which movement is shared, shaped and incorporated in the studio reveals the collective nature of creative processes which closely involve dancers and ballet masters.In addition to sustained periods of observation related to five creations at the Bolshoi Ballet, English National Ballet, New York City Ballet and the Paris Opera Ballet, the data gathered includes 29 interviews and a database listing every ballet created by the four companies above between 2000 and 2016. These findings shed light on the classical imaginary – a network of images and models, I argue, underpinning the work of 21st-century ballet choreographers – and highlight the complexity of classical artistic identities today

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Zanin, Hélène. "Rodin et les musées français : enjeux d’une diffusion (1883-1986)." Thesis, Paris 10, 2020. http://www.theses.fr/2020PA100087.

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Le musée Rodin a été fondé par le sculpteur à la fin de sa vie, en 1916, à partir des donations de l’ensemble de son œuvre à l’État français. La création de ce musée monographique, perçue comme un geste patrimonial exemplaire, a magnifié l’idée de l’adhésion absolue de l’artiste au musée comme principe et comme institution. Mais elle a aussi concentré l’attention des historiens qui se sont peu intéressés aux musées ayant acquis des œuvres de l’artiste. Plus largement cette question des liens entre les artistes, leurs œuvres et les collections publiques d’art contemporain à la fin du XIXe siècle a été délaissée. Pourtant, et ce, dès avant l’existence du musée Rodin, les œuvres du sculpteur sont visibles dans de nombreux pays. Après la mort de l’artiste, ce phénomène ne fait que s’amplifier. Il s’agit donc d’observer cette diffusion exceptionnelle en France afin d’en identifier et d’en comprendre les mécanismes. Quels musées ont acquis les œuvres de Rodin ? Pourquoi, quand et dans quelles conditions ? Quelles ont été les positions du sculpteur vis-à-vis de ces musées ? À partir de l’élaboration d’un catalogue, cette thèse a pour projet d’analyser le rôle joué par les musées dans la carrière, la connaissance et l’appréciation de l’œuvre de l’artiste. Pour cela, il convient de s’attacher au parcours des œuvres, de la sortie de l’atelier jusqu’à l’exposition au musée, pour mieux saisir et reconstituer le paysage institutionnel, les pratiques sociales, les acteurs et réseaux mobilisés lors de cette diffusion. Notre étude se décline en six axes de réflexion : l’expérience du visiteur et les représentations du musée, les stratégies de visibilité et de légitimation dans les musées et dans les expositions parisiennes, les mouvements de dépréciation et de reconsidération des musées de province, la création et l’institutionnalisation du musée monographique, l’organisation de la diffusion posthume par le musée Rodin, les réceptions multiples et les interprétations contradictoires de l’œuvre du célèbre sculpteur
Through the donation of his entire work collection to the French state, Rodin founded his museum at the end of his life. The foundation of this monographic museum has been received as a model of legacy for posterity. In the past the idea that Rodin has given his full support to all the museums has been overestimated. Meanwhile, the issues of the specificity of the museums and its links with the artist has been disregarded by the historians. More broadly, the links between the artists of the 19th century and their contemporary museums has also been neglected. Yet, the works of the sculptor were found all over the world before the creation of the Rodin museum and even more after his death. We will focus on this dramatic diffusion in France to identify and understand its mechanisms. Which museums acquired Rodin’s works? Why, when and in which circumstances? What has been Rodin’s position regarding those museums? From the creation of a catalogue, the goal of this thesis is to analyze the role played by museums in the career, the knowledge, and the judgment of the artist’s work. To better understand and rebuild the institutional landscape, the social habits, the actors and networks involved in this diffusion, we will focus on the movement of the works from the studio to the exhibitions. Our study is divided in six parts: the visitor experience and the mental representations of the museum, the promotion and the legitimization strategies in the museums and the Parisian exhibitions, the depreciation and reconsideration tendencies towards the museums in the provinces, the creation and the institutionalization of the monographic museum, the organization of the posthumous diffusion by the Rodin museum, the various judgments and the contradictory readings of the famous sculptor’s work

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Georges, Pierre-Marie. "Ancrage et circulation des pratiques artistiques en milieu rural : des dynamiques culturelles qui redessinent les ruralités contemporaines." Thesis, Lyon, 2017. http://www.theses.fr/2017LYSE2156/document.

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Faisant émerger de nouveaux objets et de nouveaux acteurs, les pratiques spatiales des artistes sont une entrée féconde pour repenser les dynamiques rurales actuelles. En les considérant comme partie prenante des rapports sociaux et bien sûr des espaces géographiques qu’elles contribuent à produire, notre thèse analyse la place des artistes en milieu rural sur un fond de mutation sociale et institutionnelle caractéristique des espaces ruraux contemporains. Car si la culture y apparaît comme un argument de distinction dans un contexte de compétition territoriale, elle croise une logique résidentielle et d’ouverture de la part des acteurs ruraux, susceptibles de favoriser l’installation d’artistes et de divers professionnels. Ceux-ci sont à la recherche de nouveaux espaces de vie et de travail et croisent en retour les nombreuses pratiques associatives et amateurs qui irriguent l’espace rural. Aussi, à l’inverse d’une approche sectorielle, nous abordons ce sujet par la question de la pratique des lieux, afin de comprendre comment les artistes distinguent les espaces dans leur argumentaire et comment en retour ils contribuent à un renouvellement des espaces vécus. Afin de dépasser les frontières habituelles du développement local, ce travail considère les ancrages et les circulations individuelles qui articulent différentes échelles de ruralité. L’approche biographique permet en effet de penser le local dans ses interfaces, ses réseaux et ses mobilités ; et ce retour aux lieux montre les incidences que les artistes peuvent avoir sur la définition de la ruralité, engageant par là une réflexion plus large sur le statut de l’espace rural dans la société. Ainsi, l’originalité de cette thèse consiste à utiliser une méthode qualitative centrée sur les parcours d’artistes pour analyser leur positionnement et leur stratégie, en s’intéressant aux transformations contemporaines des savoirs, des espaces et des pratiques créatives en milieu rural. Grâce à une approche qui croise les échelles d’analyse, cette thèse montre le rôle des espaces de l’art dans la fabrique du rural, et la manière dont les artistes contribuent à l’émergence de nouvelles articulations entre l’espace rural et la ville métropolisée
By drawing attention to new objects and actors, artistic practices are a fruitful entry point for rethinking current dynamics of French rural life. This thesis interrogates cultural development in relation to recent social and institutional changes in rural areas, without isolating such areas from social relations or the geographical spaces that underlie them. If culture appears as a distinction argument in a context of territorial competition, it intersects with a residential logic and an openness of rural actors to the cultural field. This, in turn, can initiate dynamic interactions with artists and various professionals. Such “creatives,” always on the search for new living and working spaces, are increasingly moving to rural areas, where they cooperate with the latter’s respective associations and amateur practices. Thus, contrary to a sectoral methodology, we consider this topic with a multipolar approach of culture, in order to understand how artistic actors distinguish territories, and how these territories become, in return, renewed living spaces. To overcome the usual boundaries of local development, we have chosen to put forward the multiple scales of rurality by considering artists as actors in motion, who play with various territorial resources. The microsocial approach makes here possible to think the local in its interfaces, its networks and its mobilities. And this return to the site shows the impact that artists can have on the definition of rurality itself, thus engaging to a broader reflection on the status of rural space in society. One of the originalities of this thesis is to use a qualitative method centered on artists’ analyses of their own positioning and strategies, vis- à-vis contemporary transformations of knowledge, spaces and creative practices in rural areas. Through an approach that correlates rural contexts and scales of analysis, this thesis shows the role of art spaces in the rural fabric and the way they contribute to the emergence of new articulations between rural areas and metropoles

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Fernández, Almoguera Adrián. "De l’Académie des beaux-arts aux chantiers de l’Empire : Madrid et la construction d’une nouvelle pensée architecturale en Espagne (1770-1814)." Thesis, Sorbonne université, 2020. http://www.theses.fr/2020SORUL099.

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La création de l’Académie de San Fernando en 1752 marque un tournant dans l’histoire de l’architecture en Espagne. Elle devient rapidement un centre de création, de débat et de diffusion d’une nouvelle pensée architecturale, en lien avec les autres modèles européens. L’Académie instaure une nouvelle culture architecturale à partir d’un modèle pédagogique propre complété par des expériences telles que le voyage à Rome, dont témoignent les nombreux concours qu’elle organise. À côté de ces transformations artistiques, l’Académie s’empare à partir des années 1770 d’un pouvoir inédit en matière de définition du métier d’architecte et de contrôle de l’architecture publique espagnole. Cela entraine l’intensification des rapports entre l’Académie et les acteurs du milieu urbain, notamment à Madrid, ville où l’on entame alors un important processus d’embellissement et d’équipement. Dans ce contexte d’échange entre la pensée académique et la transformation de Madrid, les pouvoirs publics de la fin du XVIIIe siècle, structurés autour d’une administration de gestion du projet architectural réformée, encouragent la construction d’une série de grands monuments à travers lesquels se constate l’évolution théorique et stylistique du nouveau classicisme espagnol de la fin des Lumières. En 1808, l’annexion de Madrid au système du Premier Empire marque un point d’inflexion dans ce processus entamé depuis les années 1770. Madrid fait alors l’objet de profondes transformations institutionnelles, urbaines et architecturales qui la rapprochent davantage encore des expériences européennes, et marquent l’évolution postérieure de cette capitale à partir de la Restauration de 1814
The opening of the Academy of San Fernando in 1752 marks a turning point in the history of architecture in Spain. It quickly became a center of creation, debate and diffusion of a new architectural thought inspired by the European models. The Academy introduced a new architectural culture from a pedagogical model complemented by experiences such as travel to Rome, and attested in architectural competitions. Alongside these artistic transformations, from the 1770s on, the Academy took on an incredible power in defining the profession of architect and control of Spanish public architecture. This is where the relationship between the Academy and the urban environment intensified, especially in Madrid, where a great process of embellishment and equipment began during the same period. In this context of exchange between academic thought and the transformation of Madrid, the public authorities of the late eighteenth century, structured around a management administration of the architectural project renovations, encouraged the construction of a series of great monuments, through which we can see the theoretical and stylistic evolution of the new Spanish classicism of the end of the Enlightenment. In 1808, the incorporation of Madrid into the First Empire system marks a turning point in this process begun since the 1770s. Madrid is then the subject of profound institutional, urban and architectural transformations that brings it closer to European experiences, completing previous experiences and mark the subsequent evolution of this capital from the Restoration of 1814

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Liao, Han-Yu, and 廖涵羽. "Becoming an Artist: the Analysis of Artists' Careers and Art Works." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/31561345566096858188.

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碩士
輔仁大學
社會學系碩士班
98
The number of graduates from the field of art has been substantial in Taiwan for years. Yet, studies focusing on art creators’ career development are sparse. From a sociological point of view, this study examines the young artists’ role as a mover in the art world, using the data of the employment analysis of Taipei National Art University Fine Arts Department graduates, supported by accounts from some in-depth interviews with a number of young artists. We also look at the process of an art creator’s becoming a professional artist, starting from their education in the art school. The study shows that only a very small number of the fine art graduates would become a professional artist, either defined by the art market’s angle or other related data. It usually takes more than a decade after graduation for the art creators’ to identify themselves as an artist. Thus, there are indeed certain distinguished characteristics of art itself when people taking it as a profession and a form of work. For the young artists, the differences of seeing art as a “vocation” or an “occupation” are reflected in their strategies of running and pursuing the art career. Looking from a different angle, the distinction between a vocation and an occupation may become blurred as the art environment has changed. Thus, we would like to establish a “semi-artist” concept and integrate it into the theory and the thread of thought. It would help us further understand the art creator’s activities and their relations with the society.

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Petrides, Loizos. "Developing and managing the artist´s career: the visual artist as entrepreneur." Doctoral thesis, 2017. http://hdl.handle.net/10071/17069.

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Este estudo investiga o impacto de processos do mercado (galerias, feiras, e leilões de arte) e decisões curatoriais nas carreiras de artistas visuais. O estudo contribui para a literatura sobre o empreendedorismo artístico, introduzindo o conceito de "business level entrepreneurship" e as qualidades de proatividade, capacidade de gestão, e networking relacionadas com este conceito. O contexto do estudo é o mundo artístico de Lisboa e a sua análise melhora a compreensão das complexidades inerentes e as interações de artistas com outros agentes e processos no mundo de arte. Esta análise contribui para a literatura adicionando ao paradigma global conhecimentos obtidos através deste contexto artístico. Na revisão da literatura, uma abordagem multidisciplinar é utilizada para analisar a complexidade do funcionamento do mercado de arte ocidental. Na parte empírica, foram realizadas 28 entrevistas semiestruturadas com agentes do mundo artístico (14 artistas, 7 agentes do mercado e 7 institucionais) que foram analisadas seguindo as diretrizes da análise temática. A visibilidade do trabalho do artista é o tema principal deste estudo, e os meios para alcançá-la são a afiliação galerística do artista e a presença do seu trabalho em feiras e instituições. Este estudo demonstra que o artista que possui qualidades empresariais pode desenvolver uma carreira com mais visibilidade, reconhecimento, e sucesso no mercado. O estudo tem implicações para a carreira artística e a sua internacionalização, e oferece recomendações de pesquisa relacionadas com o conceito de "business level entrepreneurship".
This study researches the impact of market-based processes (galleries, art fairs, auctions), and curatorial-led decisions on the career development of visual artists, including its internationalization. The study contributes to the arts entrepreneurship literature by introducing the concept of "business level entrepreneurship" and the qualities of proactiveness, managerial capability, and networking associated with it. The context of the study is the Lisbon art world and its examination enhances the understanding of the intricacies of the art world and the interactions of artists with other art world agents and processes. It also expands the relevant literature aiming to enrich the global paradigm by adding insight obtained from this art world. For the literature review, a multi-disciplinary approach is used to reveal the complexity of the workings of the western art market. For the research, 28 semi-structured interviews with art world agents (14 artists and 14 market/institutional agents) were conducted and analyzed using thematic analysis. Visibility for the artist’s work is the main theme, and the artist’s gallery affiliation, art fair participation, and institutional presence, are means to achieve it. This research demonstrates that the artist possessing entrepreneurial qualities at the business level can develop a career with more visibility, recognition, and market success. The study has implications for artists and their careers, provides recommendations for state policies for visual arts, and suggests research topics for further developing the concept of "business level entrepreneurship".

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Bang, April Hyoeun. "How Artists Teach Leadership: Eight Portraits of Artist-Educators." Thesis, 2020. https://doi.org/10.7916/d8-4byb-6s81.

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This dissertation explored how eight artists who are also faculty in academic institutions and adult professional development programs teach leadership. As such, the purpose of this study was to understand to what extent and how these self-defined artists who also teach leadership in academic and professional development settings draw from and integrate their roles, skills, experiences, learning, and ways of making meaning as artists to facilitate leadership learning among adults. By doing so, this research sought to move beyond existing technical and conceptual knowledge of arts-based methods in leadership teaching to learning more about specific artists who have inspired or used such methods. Using the method of portraiture embedded in a qualitative exploratory interview study with narrative inquiry, this study reveals an aesthetic approach to research and presents narratives of eight artist-educators in the form of portraits. Portraits were analyzed thematically using a procedure of cross-portrait analysis. Four conclusions emerged from the analysis. These include evidence of participants’ greater integration or interdependence of artist-educator identities and roles in later stages of one’s teaching career, experience of some degree or form of transformation in personal learning journeys with art, emphasis on experiential learning as an essential aspect of teaching, and advice to emerging artist-educators to embrace their artistic ways of being and knowing and integrate art into their teaching. Several recommendations for future research and practice are offered along with concluding reflections.

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Dissertations / Theses on the topic 'Artist careers'

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