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Journal articles on the topic 'Artist careers'
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Sooudi, Olga Kanzaki. "Alternative Spaces & Artist Agency in the Art Market." Arts 9, no. 4 (November 10, 2020): 116. http://dx.doi.org/10.3390/arts9040116.
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This article explores what alternative, or artist-led, spaces are in Mumbai today and their role within the city’s artworld. Drawing on ethnographic fieldwork in two alternative spaces, it argues that these are artist attempts to exercise agency in their work for an uncertain market context. In other words, these spaces are a strategy for artists to exercise control over their work in an uncertain art market, and a means to counterbalance their dependence on galleries in their careers. Furthermore, artists do so through collectivist practices. These spaces, I argue, challenge models of artistic and neoliberal work that privilege autonomy, independence, and isolation, as if artists were self-contained silos of productive creative activity and will. Artists instead, in these spaces, insist on the importance of social bonds and connection as a challenge to the instrumentalization and divisive nature of market-led demands on art practice and the model of the solo genius artist-producer. At the same time, their collective activities are oriented towards supporting artists’ individual future market success, suggesting that artist-led spaces are not separate from the art market, and should be considered within the same analytical frame.
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Bennett, Dawn. "Dancer or Dance Artist? Dance Careers and Identity." International Journal of the Arts in Society: Annual Review 3, no. 3 (2008): 73–78. http://dx.doi.org/10.18848/1833-1866/cgp/v03i03/35472.
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Lam, Alice. "Boundary-crossing careers and the ‘third space of hybridity’: Career actors as knowledge brokers between creative arts and academia." Environment and Planning A: Economy and Space 50, no. 8 (December 11, 2017): 1716–41. http://dx.doi.org/10.1177/0308518x17746406.
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This article examines how boundary-crossing careers influence creative knowledge combination by looking at a group of creative artists whose careers straddle professional arts and academia. Whereas previous research has treated individuals as vehicles for knowledge transmission across intertwined networks, this study emphasizes their active role as knowledge brokers. It examines how work role transitions trigger a dynamic interplay between actors and contexts, and brings about changes in the cognitive frames of individuals and their propensity to connect knowledge across contexts. The study employs Bhabha’s concept of the ‘third space of hybridity’ to denote the agency space where career actors construct hybrid role identities and engage in knowledge brokering. The analysis identifies two categories of hybrid with different boundary-crossing careers and shows how work role transitions influence the topology of the third space where knowledge brokering occurs. The ‘artist-academics’ whose careers span art and academia concurrently experience recurrent micro-role transitions. They are ‘organic’ hybrids operating at the ‘overlapping space’ where knowledge translation and integration occur naturally in everyday work. They are ‘embedded’ knowledge brokers. The ‘artists-in-academia’, who cross over from the art world to academia, experience more permanent macro-role transitions. They are ‘intentional hybrids’ who make conscious efforts to bridge two discrete work domains by creating a separate ‘transitional space’. Their knowledge brokering activities are instrumental in transforming both their own knowledge and that of their work context: they are transformative knowledge brokers. The study advances our understanding of career mobility as a mechanism that facilitates creative knowledge combination by highlighting actor agency and the underlying cognitive-behavioural mechanisms.
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Carradini, Stephen. "Artist Communication: An Interdisciplinary Business and Professional Communication Course." Business and Professional Communication Quarterly 82, no. 2 (February 5, 2019): 133–52. http://dx.doi.org/10.1177/2329490619826113.
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The arts have not received much attention from business and professional communication (BPC) scholars who are interested in workplace communication. This article begins to fill that gap by explaining a course focused on the BPC that artists produce in their careers. Students learned BPC genres by addressing arts situations: They crafted email pitches to promoters, took promotional photography, created crowdfunding proposals, and more. I argue that teaching artist communication can give a new context to existing BPC assignments, encourage interdisciplinary initiatives, and allow for the incorporation of natively digital communication genres into existing courses.
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M. Muñiz Jr, Albert, Toby Norris, and Gary Alan Fine. "Marketing artistic careers: Pablo Picasso as brand manager." European Journal of Marketing 48, no. 1/2 (February 4, 2014): 68–88. http://dx.doi.org/10.1108/ejm-01-2011-0019.
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Purpose – In recent years, scholars have begun suggesting that marketing can learn a lot from art and art history. This paper aims to build on that work by developing the proposition that successful artists are powerful brands. Design/methodology/approach – Using archival data and biographies, this paper explores the branding acumen of Pablo Picasso. Findings – Picasso maneuvered with consummate skill to assure his position in the art world. By mid-career, he had established his brand so successfully that he had the upper hand over the dealers who represented him, and his work was so sought-after that he could count on selling whatever proportion of it he chose to allow to leave his studio. In order to achieve this level of success, Picasso had to read the culture in which he operated and manage the efforts of a complex system of different intermediaries and stakeholders that was not unlike an organization. Based on an analysis of Picasso's career, the authors assert that in their management of these powerful brands, artists generate a complex, multifaceted public identity that is distinct from a product brand but shares important characteristics with corporate brands, luxury brands and cultural/iconic brands. Originality/value – This research extends prior work by demonstrating that having an implicit understanding of the precepts of branding is not limited to contemporary artists and by connecting the artist to emerging conceptualizations of brands, particularly the nascent literatures on cultural, complex and corporate brands.
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Braden, L. E. A. "Networks Created Within Exhibition: The Curators’ Effect on Historical Recognition." American Behavioral Scientist 65, no. 1 (October 15, 2018): 25–43. http://dx.doi.org/10.1177/0002764218800145.
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This research examines artist networks created by shared museum exhibition. While previous research on artistic careers assesses self-cultivated networks, historical recognition may be further influenced by connections created by important others, such as museum curators and art historians. I argue when museum exhibitions show artists together, curators are creating symbolic associations between artists that signal the artist’s import and contextualization within his or her peer group. These exhibition-created associations, in turn, influence historians who must choose a small selection of artists to exemplify a historical cohort. The research tests this idea through a cohort of 125 artists’ exhibition networks in the Museum of Modern Art, New York, from 1929 to 1968 (996 exhibitions). Individual network variables, such as number and quality of connections, are examined for impact on an artist’s recognition in current art history textbooks (2012-2014). Results indicate certain connections created by exhibition have a positive effect on historical recognition, even when controlling for individual accomplishments of the artist (such as solo exhibitions). Artists connected with prestigious artists through “strong symbolic ties” (i.e., repeated exhibition) tend to garner the most historical recognition, suggesting robust associations with historical peers may signify an artist’s exemplary status within his or her cohort, and consequent “good fit” into the historical narrative.
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Petrides, Loizos, and Alexandra Fernandes. "The Successful Visual Artist: The Building Blocks of Artistic Careers Model." Journal of Arts Management, Law, and Society 50, no. 6 (November 1, 2020): 305–18. http://dx.doi.org/10.1080/10632921.2020.1845892.
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Miller, Diana L. "Gender and the Artist Archetype: Understanding Gender Inequality in Artistic Careers." Sociology Compass 10, no. 2 (February 2016): 119–31. http://dx.doi.org/10.1111/soc4.12350.
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Teece, Denise-Marie. "“Compassionate Companion, Familiar Friend”: The Turin Safīna (Biblioteca Reale Ms. Or. 101) and Its Significance." Muqarnas Online 36, no. 1 (October 3, 2019): 61–82. http://dx.doi.org/10.1163/22118993-00361p04.
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Abstract This article examines some of the more significant aspects of Turin Safīna manuscript Biblioteca Reale Ms. Or. 101. One of these is its unique and important six-page preface, which refers to the manuscript as a safīna (ship or vessel) and explains in poetic language why some Persian manuscripts are referred to using this term. In addition to this significant preface, which is translated and analyzed in the first half of the article, the manuscript also exhibits delicate illuminations and calligraphy work that may be connected to a network of artist-families active in western Persia (primarily in the region of Shiraz) around the time of its completion. The second half of this article revisits the careers of some of these artists, and discusses the broader artistic context for the creation of the Turin safīna manuscript. Special attention will be given to the careers of the illuminator known as Ruzbehan al-Modhahheb, and his calligrapher father Naʿim al-Din al-Kateb.
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Zimnica-Kuzioła, Emilia. "Acting Career and its Determinants in the Social World of Professional Theater in Poland." Konteksty Społeczne 8, no. 1 (November 20, 2020): 48–69. http://dx.doi.org/10.17951/ks.2020.8.1.48-69.
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The article is an attempt to answer the question about factors affecting the trajectory of an acting career. The author confronts the objective dimensions of a career with a subjective concept of success, clarified by the participants of the social world of theater themselves. The empirical basis of the work are free interviews conducted by the author with actors of Polish public drama theaters (in 2015–2017) and journalistic interviews with theater artists published in books and popular monthly magazines in the last two decades of the 21st century. All sources were subjected to qualitative content analysis. It shows that in addition to talent, which is the basis of an acting career, hard work is also important. The actors pay attention to personality aspects – charismatic people with a natural ability to attract attention have a greater chance of success. The cultural capital of the stage artist and social capital (the relevant role of linking artistic careers) are not without significance for the course of the acting career. Actors also say a lot about coincidence of events, but it is worth remembering that “you have to be good to be lucky”, you have to be more motivated and determined. The author also tries to answer questions whether awards actuate the course of acting career and whether migrations are an opportunity for creative progression.
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Winearls, Joan. "Allan Brooks, Naturalist and Artist (1869-1946)." Scientia Canadensis 31, no. 1-2 (January 23, 2009): 131–54. http://dx.doi.org/10.7202/019758ar.
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Abstract British by birth Allan Cyril Brooks (1869-1946) emigrated to Canada in the 1880s, and became one of the most important North American bird illustrators during the first half of the twentieth century. Brooks was one of the leading ornithologists and wildlife collectors of the time; he corresponded extensively with other ornithologists and supplied specimens to many major North American museums. From the 1890s on he hoped to support himself by painting birds and mammals, but this was not possible in Canada at that time and he was forced to turn to American sources for illustration commissions. His work can be compared with that of his contemporary, the leading American bird painter Louis Agassiz Fuertes (1874–1927), and there are striking similarities and differences in their careers. This paper discusses the work of a talented, self-taught wildlife artist working in a North American milieu, his difficulties and successes in a newly developing field, and his quest for Canadian recognition.
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Stephen, Ann. "Portrait of an artist as an ex-war surgeon." History of Education Review 45, no. 2 (October 3, 2016): 183–97. http://dx.doi.org/10.1108/her-10-2015-0025.
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Purpose To examine how art is shaped by war, outside of the official commemorative projects of the First World War. The purpose of this paper is to examine the experience of a surgeon/artist who knew first-hand the horror of industrial scale of destruction. It speculates on how his medical education and surgical knowledge in the treatment of the casualties informed his art and considers how such scientific discourses may have contributed to a new modernist language. Design/methodology/approach The double career of J.W. Power – a surgeon then an artist – provides a case study to probe such questions. The paper speculates about the connections between these different careers, and considers the implications of becoming an artist for someone who had pre-war university-training, medical expertise and experience as a war surgeon. In particular, consideration is given to how surgical knowledge and contemporary medical debates may have informed a group of later paintings. Findings A group of J.W. Power’s late paintings stand apart from his other subjects as they suggest states of physical or psychological damage. Indeed by the 1930s shell shock was recognised as a war-related psychological injury. These paintings then may not only be an act of remembrance, but also potentially a reflection on that new discourse. Research limitations/implications It remains a compelling idea that by the 1930s Power had found a modern abstract language capable of revisiting the traumatic subject of his hospital sketches. The implications of the war-time surgery on his art was delayed and remains highly ambiguous, however it invites, indeed encourages, such speculation. Originality/value The paper is the first to examine the cultural impact of the medical career of the artist J.W. Power. His medical training and experience as a war-time surgeon is shown to have been significant to his later painting, for he knew the regenerative powers of modern surgery, of how such knowledge had the power to repair and to heal.
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Schwartz, Gary. "Painting outside the Lines: Patterns of Creativity in Modern Art. By David W. Galenson. Cambridge, MA and London: Harvard University Press, 2001. Pp. xvi, 251. $29.95." Journal of Economic History 63, no. 1 (March 2003): 308–10. http://dx.doi.org/10.1017/s002205070364180x.
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In this engaging book, David Galenson formulates a complex question about modern art that he tries to answer with statistics, analysis, and exposition, enlivened with a rich sprinkling of well-chosen quotes. Posing an initial question “At what stage of their lives have modern painters normally done their best work?,” he finds that this age varies widely from artist to artist. This leads to the central problem: “is it by chance that some have made their greatest contributions early in their careers, and others late in theirs, or is there some general explanation that accounts for the variation?” (p. 4).
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Quijano Martínez, Jenny Beatriz. "Hugh Ramsay’s Self-Portrait: Re ections on a Spanish Master Painter." Boletín de Arte, no. 36 (October 30, 2017): 155–63. http://dx.doi.org/10.24310/bolarte.2015.v0i36.3328.
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The interest in European masters from the past was a phenomenon related to the development of the artistic careers of many artists in Australia at the end of the nineteenth and beginning of the twentieth century. More than that, the copying or emulation of great works of art was seen to be a necessary part of an artist’s training1. This paper looks at Hugh Ramsay and his fascination with the painting Las Meninas (1656) by Velázquez as part of a larger study into understanding how the Spanish in uence was re ected in Australian art. Ramsay introduced elements from Las Meninas into his Portrait of the artist standing before easel, which took him to personify the role of the painter as Velázquez.
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Vinson, Kimberly. "Special Considerations for the Performing Voice: Perspective of the Laryngologist." Perspectives on Voice and Voice Disorders 23, no. 1 (March 2013): 7–14. http://dx.doi.org/10.1044/vvd23.1.7.
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One of the many tasks a laryngologist is assigned to is the care of the professional voice. When discussing professional voice users, it is natural to consider performing artists such as singers, actors, voice-over artists, and broadcasters. However, this patient population includes many more groups. Clergy, attorneys, politicians, teachers, sales and customer service representatives, and coaches also should be considered professional voice users because their careers and livelihoods depend on the quality of their voices. The professional voice user often is a reluctant patient because he or she fears the inability to perform or that treatment, especially vocal surgery, may permanently affect his or her voice in a negative fashion. Caring for these patients requires special attention to these fears, as well as their schedules and deadlines. In this article, I will consider the management of vocal dysfunction in the performing vocal artist.
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Meretskaya, Yulia S. "ANTON AŽBE AND HIS SOUTH SLAVIC STUDENTS." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 58 (2020): 300–307. http://dx.doi.org/10.37816/2073-9567-2020-58-300-307.
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In 1891, a private art school led by Anton Ažbe (1862–1905), a Slovenian artist and teacher, opened in Munich. A lot of artists from all over the world studied at the school during its operation. Anton Ažbe’s approach to teaching, which was based on the “Sphere Principle” and the “Crystallization of Color Principle”, influenced stylistic development of the European and Russian art in the late 19th – early 20th centuries. The distinctive feature of Ažbe’s method was a combination of thorough technical skill training and openness to new ideas, which would bring out students’ personal creative talents. The school's alumni were later engaged in quite different areas of style, including the avant-garde. This paper offers brief overviews of the artistic careers of Ažbe’s most famous South Slavic students — Slovenes, Serbs and Croats; it also discusses some aspects of their relationships with their teacher and analyzes the impact of Ažbe’s teaching method on their stylistic development. Thus, the oeuvre of the Slovenian Impressionists R. Jakopič, I. Grohar, M. Yama and M. Sternen, of the Croatian painters J. Račić and O. Hermann and of the Serbian artist N. Petrović have been consistently examined. The author concludes that the Ažbe’s South Slavic students consistently introduced elements of his painting principles into the art of Slovenia, Serbia and Croatia.
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Marshall, Kevin. "FOR THE WORKING ARTIST: A SURVIVAL GUIDE FOR PERFORMING, VISUAL AND MEDIA ARTISTS WHO CHOOSE TO MANAGE THEIR OWN CAREERS. Judith Luther." Art Documentation: Journal of the Art Libraries Society of North America 6, no. 3 (October 1987): 137–38. http://dx.doi.org/10.1086/adx.6.3.27947801.
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Vesey, Alyxandra. "“A Way to Sell Your Records”: Pop Stardom and the Politics of Drag Professionalization on RuPaul’s Drag Race." Television & New Media 18, no. 7 (December 1, 2016): 589–604. http://dx.doi.org/10.1177/1527476416680889.
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RuPaul’s Drag Race (Logo TV, 2009–present) tethers drag culture to pop stardom by structuring challenges around host RuPaul’s recording career and eliminations around lip sync contests that promote guest judges’ music. By its fourth season, it began substantially rewarding contestants for using pop music to showcase their own branding and musical skills. By analyzing the program and its surrounding industry discourse, this article identifies a Season 4 infomercial challenge promoting RuPaul’s catalogue as a turning point in the program’s relationship to pop music due to its winner’s ascent as a recording artist. As a result, many white and light-skinned cast members were far better able to mount their own recording careers after appearing on the program than their counterparts of color. Thus, this article argues that Drag Race uses the recording industry as a site for contestants’ professionalization that reinforces pop music’s and reality programming’s entrenched neoliberalism and post-racial politics.
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Fine, Gary Alan, and Rashida Z. Shaw. "An Isolationist Blacklist? Lillian Gish and the America First Committee." Theatre Survey 47, no. 2 (September 12, 2006): 283–88. http://dx.doi.org/10.1017/s0040557406000275.
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As it affected the performing arts community, the Red Scare has been examined in great detail.1 Taken together, these studies make clear that external political forces influence the hiring decisions of performing-arts organizations. From the 1930s to the 1950s figures affiliated with left-wing causes and groups found their careers stifled either temporarily or permanently because of their political beliefs. Although attention has focused primarily on institutional pressures from outside the industry on leftist artists, we describe an instance of pressure from within the industry on an artist whose politics were isolationist rather than progressive. In this research note, we present the case of Lillian Gish, describing how interventionists pressured her to distance herself from the isolationism that she had publicly embraced in the period immediately prior to the entrance of the United States in World War II. The attack on those described as “Nazi sympathizers” and their isolationist brethren during 1940–4 has come to be described as the “Brown Scare,”2 playing off the more widely known “Red Scares” of 1919–20 and 1947–54.
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Bridgstock, Ruth. "Australian Artists, Starving and Well-Nourished: What Can we Learn from the Prototypical Protean Career?" Australian Journal of Career Development 14, no. 3 (October 2005): 40–47. http://dx.doi.org/10.1177/103841620501400307.
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Recent literature documents the demise of traditional linear careers and the rise of protean, boundaryless, or portfolio careers, typified by do-it-yourself career management and finding security in ongoing employability rather than ongoing employment. This article identifies key attributes of the ‘new career’, arguing that individuals with careers in the well-established fields of fine and performing arts often fit into the ‘new careerist’ model. Employment/career data for professional fine artists, performing artists and musicians in Australia is presented to support this claim. A discussion of the meta-competencies and career-life management skills essential to navigate the boundaryless work world is presented, with specific reference to Australian artists, and recommendations for future research.
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Galenson, David W. "A Portrait of the Artist as a Young or Old Innovator Measuring the Careers of Modern Novelists." Historical Methods: A Journal of Quantitative and Interdisciplinary History 39, no. 2 (April 2006): 51–72. http://dx.doi.org/10.3200/hmts.39.2.51-72.
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Brandl, Flora L. "On a Curious Chance Resemblance: Rudolf von Laban’s Kinetography and the Geometric Abstractions of Sophie Taeuber-Arp." Arts 9, no. 1 (February 4, 2020): 15. http://dx.doi.org/10.3390/arts9010015.
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This paper investigates a case of historical co-emergence between a modern system of dance notation and the rise of geometric abstraction in the applied arts during the first decades of the 20th century. It does so by bringing together the artistic careers of the choreographer Rudolf von Laban and the visual artist Sophie Taeuber-Arp. Comparing their pedagogical agendas and visual aesthetics, this paper argues that the resemblances between Laban’s Kinetography and Taeuber-Arp’s early geometric compositions cannot be a matter of pure coincidence. The paper therefore presents and supports the hypothesis of a co-constitutive relationship between visual abstraction and the dancing body in the European avant-garde.
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Schneider, Ana-Karina. "Reading Kazuo Ishiguro’s “Bewilderment Trilogy” as Bildungsromane." American, British and Canadian Studies 31, no. 1 (December 1, 2018): 27–46. http://dx.doi.org/10.2478/abcsj-2018-0015.
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Abstract In this essay, Kazuo Ishiguro’s “Bewilderment Trilogy” is read as a series of Bildungsromane that test the limits of that genre. In these thematically unrelated novels, characters reach critical points in their lives when they are confronted with the ways in which their respective childhoods have shaped their grownup expectations and professional careers. In each, the protagonist has a successful career, whether as a musician (The Unconsoled), a detective (When We Were Orphans), or a carer (Never Let Me Go), but finds it difficult to overcome childhood trauma. Ishiguro’s treatment of childhood in these novels foregrounds the tension between individual subjectivity and the formal strictures and moral rigors of socialisation. In this respect, he comes close to modernist narratives of becoming, particularly James Joyce’s A Portrait of the Artist as a Young Man. Narrative strategies such as epiphanies and the control of distance and tropes such as boarding schools and journeys to foreign lands provide the analytical coordinates of my comparative study. While raising the customary questions of the Bildungsroman concerning socialisation and morality, I argue, Ishiguro manipulates narration very carefully in order to maintain a non-standard yet meaningful gap between his protagonists’ understanding of their lives and the reader’s.
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Baigell, Matthew. "Clement Greenberg, Harold Rosenberg, and Their Jewish Issues." Prospects 30 (October 2005): 651–64. http://dx.doi.org/10.1017/s0361233300002210.
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Clement Greenberg (1909–94) and Harold Rosenberg (1906–78) were the two art critics most closely associated with abstract expressionism in the 1940s and 1950s. Neither began their careers as art critics, however. By the mid-1980s, Rosenberg had published literary essays and poems in left-wing magazines, and Greenberg's articles and reviews first appeared at the end of that decade. During the 1940s, Greenberg began to write art criticism, and Rosenberg's essays began to appear frequently in the 1950s. By that time, both had become part of the group known informally as the New York Intellectuals, many of whom were Jewish and children of immigrant parents.Highly verbal, vocal, argumentative, and politically left of center, they often published in magazines such as Partisan Review, Commentary, and Dissent. Although both Greenberg and Rosenberg ultimately rejected the more dogmatic and authoritarian aspects of leftist politics, they nevertheless supported the idea that society must move forward, but not necessarily by political means. Greenberg thought that such momentum could be maintained by the cultural elite, and Rosenberg, influenced by surrealism's concerns for the creative process, believed that individuals who were independent minded and creative could do the same. Both encouraged artists to turn from the social concerns that engaged many during the 1930s to apolitical, self-searching themes that came to characterize the art of the 1940s. In effect, they, especially Rosenberg, lionized the artist as an heroic individual. In the words of one historian, both “worked to find a safe haven for radical progress within the realm of individualistic culture.” And both, among the most perspicacious critics of their time, discovered, encouraged, and/or supported artists who ultimately became major figures, such as Jackson Pollock and Willem de Kooning.
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O’Heir, Jeff, and Chehalis Hegner. "A Kinetic Sculptor." Mechanical Engineering 139, no. 04 (April 1, 2017): 42–47. http://dx.doi.org/10.1115/1.2017-apr-3.
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This article highlights different mechanical engineering works of Arthur Ganson. The fundamentals of mechanical engineering inform every piece of Arthur Ganson’s moving sculptures. Ganson, who is as much an engineer as he is an artist, works with unpolished steel, found objects, homemade gears, and roughly soldered wires. Yet he assembles them with such care that their movements create an elegant and mesmerizing beauty. His permanent installations tick, whiz, and hum at the National Inventors Hall of Fame in Ohio and at the Smithsonian Institution’s Lemelson Center for the Study of Invention and Innovation. His work has been featured at numerous museums and galleries around the world, and he has even appeared in ‘Muffy’s Art Attack,’ an episode of the children’s cartoon Arthur. While most engineers spend their careers hiding the pieces that make their machines move, Ganson reveals his. To construct each sculpture and engineer its movement, he relies on the fundamentals of mechanical engineering and physics the same way that a painter uses color theory as a guide for creating a visual effect.
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SWINNEN, AAGJE. "‘Writing to make ageing new’: Dutch poets' understandings of late-life creativity." Ageing and Society 38, no. 3 (November 3, 2016): 543–67. http://dx.doi.org/10.1017/s0144686x16001197.
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ABSTRACTThis article presents the results of a study that examines how older professional writers experience and understand creativity in later life. In psychological, humanities' and gerontological approaches to ageing and creativity, this question is still under-explored. The study's data-set consists of transcriptions of lengthy interviews conducted in spring 2015 with five Dutch poets over 65 who have achieved some eminence in the field. By means of interpretative phenomenological analysis, three superordinate and 12 subordinate themes came to the fore that offer an account of the ideas, thoughts and feelings characteristic of the way these writers perceive the later stages in their career. The first superordinate theme, Securing Sustainable Writing Practices, comprises the subordinate themes of maintaining continuity in writing approach; drawing on wealth of experience; emancipating from earlier literary conceptions; and reinventing oneself as artist throughout the years. The second superordinate theme, Negotiating the Literary Field, encompasses the following subordinate themes: challenges regarding finding or keeping a publisher in later life; developing self-acceptance and relativising literary awards; handling continuity of reception, or the way literary work is pigeonholed by critics; and staying visible in the literary scene. The third and final superordinate theme, Writing as Art of Living, refers to: not feeling old(er); writing as a practice of good living; writing as a way to recreate what is lost or unknown; and confronting cognitive decline. Together, these superordinate and subordinate themes diversify ideas of late-life creativity that are based on questionable generalising conceptualisations of the psychology of later life and artistic careers.
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Kartseva, Ekaterina A. "Transformation of Art Communications and the Art Market in the Context of Digital Culture." Observatory of Culture 16, no. 1 (March 26, 2019): 16–28. http://dx.doi.org/10.25281/2072-3156-2019-16-1-16-28.
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Digital culture has moved people to a fundamentally new environment, which has its own characteristics, patterns and practices. Studies show that the digitalization of society occurs exponentially from year to year. Society is increasingly interacting with digital, and its influence affects various aspects of modern culture. New cultural patterns of behavior are being formed, traditional communication practices are being modified. As any complex phenomenon, digital culture not only opens up new opportunities for society, but also poses new challenges. The search for an effective, ethical, comfortable interaction in the information environment has become one of the urgent tasks. The development of the art market has always largely depended on the quality and level of social and cultural communications. Today, when the mass media in the traditional sense have lost their monopoly on the production and distribution of information, giving way to “mass self-communication”, the art communications, relationships between the artist and the public, and construction of artistic careers are also undergoing certain transformations, influenced by social media. In recent years, the development of network structures, the increasing capabilities of digital storage systems, cryptocurrencies and blockchain registries have significantly changed the established system of the art market. This article is devoted to changes in the characteristics of the art market and its main subjects — artists, collectors, galleries — in the context of digital culture. These processes and paradigmatic shifts are considered both from the point of view of their technological features, and from the point of view of their influence on artistic culture and art communication in general. The article analyzes in detail what negative and positive aspects the digital culture brings to the participants of the art market.
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Wheatley, Michael. "For Fame and Fashion." Exchanges: The Interdisciplinary Research Journal 7, no. 2 (January 30, 2020): 115–33. http://dx.doi.org/10.31273/eirj.v7i2.458.
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This research explores the ways cannibalism in Chuck Palahniuk’s novel Haunted (2005) and Nicolas Winding Refn’s film The Neon Demon (2016) are a consequence, and reflective, of the consuming nature of creative industries. The research draws from this exploration that the consumptive characteristics of cannibalism often allegorise the processes and careers of artists. Specifically, the sacrificial nature of putting oneself into one’s work, the notion of the tortured artist, and the competitive nature of creative industries, where the hierarchy is ascended through others’ losses.
In the framing narrative of Haunted, seventeen writers are trapped within an isolated writing retreat under the illusion of re-enacting the Villa Diodati and writing their individual masterpieces. When inspiration fails them, they sabotage their food supply in order to enhance their suffering, and thus their eventual memoirs. The writers turn to cannibalism, not only to survive but to remove the competition. By consuming each other, they attempt to manufacture themselves as ‘tortured artists’, competing to create the most painful story of the ‘writing retreat from hell’.
In The Neon Demon, the protagonist, Jesse, begins as an innocent young woman who becomes embroiled in the cutthroat modelling industry. Favoured for her natural beauty, Jesse antagonises her fellow models, developing narcissistic tendencies in the process. At the film’s end she is cannibalised by these rivals, indicating the industrial consumption of her purity, the restoration of individual beauty by leeching off of the young, and the retaining of the hierarchy by removing the competition.
Employing close readings of both literary and cinematic primary source material, this interdisciplinary study investigates a satirical trend within cultural representations of cannibalism against consumptive and competitive creative industries. In each text, cannibalism manifests as a consequence of these industrial pressures, as the desire for fame forces people to commit unsavoury deeds. In this regard, cannibalism acts as an extreme extrapolation of the dehumanising consequences of working within this capitalist confine.
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Bałus, Wojciech. "Przełomy, kryzysy, ewolucje." Artium Quaestiones, no. 30 (December 20, 2019): 323–37. http://dx.doi.org/10.14746/aq.2019.30.20.
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When Aristotle asked at what particular moment we can say that an army is fleeing, which is certainly not when individual soldiers start leaving the battlefield, he formulated a problem that is important also for today’s art history: are there any moments in the history of art that can be called turning points? In individual artistic careers, such points are related to crises, allowing the artist to overcome an impasse and find a way toward reaching a goal. Quite often, such a turn occurs suddenly, at some particular moment which ancient Greeks called the kairos. The changes in art approached en bloc also happen thanks to the background of values and some goal of artistic creation. A turning point may imply overcoming a crisis or a period of decline and decadence – always a state of affairs defined in negative terms. A separate case is definitely a political decree that triggers off a change, which implies violence committed on culture. Finally, in academic art history a turning point may be related not only with a crisis, but also with evolution. It’s perception is relative, but because of that the history of art can be rewritten.
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Bałus, Wojciech. "Turning Points, Crises, Evolutions." Artium Quaestiones, no. 30 (December 20, 2019): 21–35. http://dx.doi.org/10.14746/aq.2019.30.3.
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When Aristotle asked at what particular moment we can say that an army is fleeing, which is certainly not when individual soldiers start leaving the battlefield, he formulated a problem that is important also for today’s art history: are there any moments in the history of art that can be called turning points? In individual artistic careers, such points are related to crises, allowing the artist to overcome an impasse and find a way toward reaching a goal. Quite often, such a turn occurs suddenly, at some particular moment which ancient Greeks called the kairos. The changes in art approached en bloc also happen thanks to the background of values and some goal of artistic creation. A turning point may imply overcoming a crisis or a period of decline and decadence – always a state of affairs defined in negative terms. A separate case is definitely a political decree that triggers off a change, which implies violence committed on culture. Finally, in academic art history a turning point may be related not only with a crisis, but also with evolution. It’s perception is relative, but because of that the history of art can be rewritten.
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Kozbelt, Aaron, and Yana Durmysheva. "Lifespan Creativity in a Non-Western Artistic Tradition: A Study of Japanese Ukiyo-E Printmakers." International Journal of Aging and Human Development 65, no. 1 (July 2007): 23–51. http://dx.doi.org/10.2190/166n-6470-1325-t341.
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Western cultures' conceptions about creativity emphasize originality and final products; Eastern cultures, skill and process. Does this cultural difference impact how creativity unfolds over the lifespan? To examine this, we investigated Japanese “ukiyo-e” printmaking (c. 1670–1865). Almost 2,000 illustrations of datable prints by 44 artists were found in 36 art books. Career landmarks (earliest, most frequent, and latest illustrated print) and eminence ratings were estimated for each artist. Results are largely consistent with prior research on Western samples: artists' career peaks vary greatly, averaging around age 40, and the most prolific artists usually (but not always) created the most popular prints. However, ukiyo-e artists show a more positive relation between career peak and eminence than Western artists, peak slightly later than their French (but not American) counterparts, and older artists created the most famous prints, compared to the West. Trans-historically, early-peaking ukiyo-e artists are concentrated between 1780 and 1800.
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van Rens, Fleur E. C. A., and Edson Filho. "Realizing, Adapting, and Thriving in Career Transitions From Gymnastics to Contemporary Circus Arts." Journal of Clinical Sport Psychology 14, no. 2 (June 1, 2020): 127–48. http://dx.doi.org/10.1123/jcsp.2018-0075.
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The purpose of this study was to explore the career transition experiences of elite gymnasts who became professional circus artists. Eight (inter)national level gymnasts who worked as circus artists were interviewed. Using a constructionist approach to thematic data analysis, we identified a three-phase career transition process. High levels of psychological resilience characteristics were required in the first, “realizing” phase (i.e., motivation, hard work, social support, and optimism). The second, “adapting” phase involved balancing context-specific demands which included general stress, a loss of competence, social adjustment, taking calculated risks, and physical recovery. The third, “thriving” phase involved experiences of freedom, personal development, and social connectedness. During the career transition, changes from an athletic to circus artist identity were experienced. Practitioners are encouraged to support the psychological resilience and experiences of autonomy among circus artists during their career transitions. This is expected to facilitate circus artists’ wellbeing, safety, and career longevity.
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Lebedev, Sergei, Raffaele Bonadio, Clara Gómez-García, Janneke I. de Laat, Laura Bérdi, Bruna Chagas de Melo, Daniel Farrell, et al. "Education and public engagement using an active research project: lessons and recipes from the SEA-SEIS North Atlantic Expedition's programme for Irish schools." Geoscience Communication 2, no. 2 (October 11, 2019): 143–55. http://dx.doi.org/10.5194/gc-2-143-2019.
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Abstract. An exciting research project, for example with an unusual field component, presents a unique opportunity for education and public engagement (EPE). The adventure aspect of the fieldwork and the drive and creativity of the researchers can combine to produce effective, novel EPE approaches. Engagement with schools, in particular, can have a profound impact, showing the students how science works in practice, encouraging them to study science, and broadening their career perspectives. The project SEA-SEIS (Structure, Evolution And Seismicity of the Irish offshore, https://www.sea-seis.ie, last access: 6 October 2019) kicked off in 2018 with a 3-week expedition on the research vessel (RV) Celtic Explorer in the North Atlantic. Secondary and primary school students were invited to participate and help scientists in the research project, which got the students enthusiastically engaged. In a nation-wide competition before the expedition, schools from across Ireland gave names to each of the seismometers. During the expedition, teachers were invited to sign up for live, ship-to-class video link-ups, and 18 of these were conducted. The follow-up survey showed that the engagement was not only exciting but encouraged the students' interest in science, technology, engineering, and mathematics (STEM) and STEM-related careers. With most of the lead presenting scientists on the ship being female, both girls and boys in the classrooms were presented with engaging role models. After the expedition, the programme continued with follow-up, geoscience-themed competitions (a song-and-rap one for secondary and a drawing one for primary schools). Many of the programme's best ideas came from teachers, who were its key co-creators. The activities were developed by a diverse team including scientists and engineers, teachers, a journalist, and a sound artist. The programme's success in engaging and inspiring school students illustrates the EPE potential of active research projects. The programme shows how research projects and the researchers working on them are a rich resource for EPE, highlights the importance of an EPE team with diverse backgrounds and expertise, and demonstrates the value of co-creation by the EPE team, teachers, and school students. It also provides a template for a multifaceted EPE programme that school teachers can use with flexibility, without extra strain on their teaching schedules. The outcomes of an EPE programme coupled with research projects can include both an increase in the students' interest in STEM and STEM careers and an increase in the researchers' interest and proficiency in EPE.
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CHAMETZKY, PETER. "ARTISTS AS AVATARS." Modern Intellectual History 11, no. 1 (March 5, 2014): 237–52. http://dx.doi.org/10.1017/s1479244313000413.
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Are artists crazy? Are creators more likely to be mad, or madder, than the rest of us? Does mental distress deepen artistic vision? Correlate to genius? Is the drive to fashion a personal pictorial or plastic universe pathological? Bettina Gockel's hefty Tübingen Habilitationsschrift, “The Pathologizing of the Artist: Artist Legends in Modernity,” documents the significant amount of mental energy expended exploring these and related questions from the mid-nineteenth century into the 1920s. Matthew Biro's The Dada Cyborg argues that the Dadaists’ montages, assemblages, and raucous agitational activities in the public sphere of World War I-era Berlin indicate modernity's disruption of stable subject positions and suggest instead hybrid, “cyborgian” identities. These included challenges to normative notions of sanity, but also to those of gender, ethnicity, race, and national and political allegiance. James van Dyke's study of the Weimar- and Nazi-era career of painter Franz Radziwill, a World War I veteran and self-taught reactionary modernist realist, provides a detailed case study of an artist whom one might, in retrospect, suspect of a degree of grandiosity and careerism bordering on the pathological, but who was driven by a complex of motivations as political as they were personal.
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Kontula-Webb, Sani Aleksandra. "Portraits of Nikolas II by Finnish Artist Albert Edelfelt (To the History of Russia and Finland Cultural Links )." Observatory of Culture, no. 5 (October 28, 2014): 79–83. http://dx.doi.org/10.25281/2072-3156-2014-0-5-79-83.
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Deals with the relations to Russia of the Finnish artist Albert Edelfelt (1854-1905). He was one of the most prominent artists of Finland whose talent was well known also abroad. He became popular among the high society of Europe as a portraitist and made a remarkable career in the house of the Russian Tsars. This article is also devoted to his connections with Russia and especially to his portraits of Nikolas II. The fragments of letters written by the artist and translated by the author into Russian are cited in the article.
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McDermott, Dana Sue. "The Apprenticeship of Robert Edmond Jones." Theatre Survey 29, no. 2 (November 1988): 193–212. http://dx.doi.org/10.1017/s0040557400000661.
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“Art is a kind of innate drive that seizes a human being and makes him its instrument.” With this statement and related discussion Carl Jung suggested that the decision to work as an artist is involuntary; however he did not actually explain the nature of being “seized.” Working with numerous artists, reading about many others, and examining the specific example of Robert Edmond Jones, I would suggest that the artist is both seized by and seizes the innate drive and that it is a process which occurs over time. An examination of Jones's childhood, education, and early production experience reveals the complex nature of his progression toward a career as a theatre artist.
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NELSON, CYNTHIA. "MURSI SAAD EL-DIN, ED., Gazbia Sirry: Lust for Color (Cairo: American University in Cairo Press, 1998). Pp. 246." International Journal of Middle East Studies 33, no. 2 (May 2001): 324–26. http://dx.doi.org/10.1017/s0020743801382065.
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The attempt to put into words what is fundamentally a visual experience confronts this reviewer with an enormous challenge. Being neither artist nor art critic, I must approach the task through my lens as friend and long-time admirer of Gazbia Hassan Sirry, one of Egypt's leading modern artists, whose varied and innovative artistic career spans more than fifty years. Perhaps in this way I can create a context within which this book can be read, appreciated, and, I hope, used by those scholars who are interested in the dialectic between art and society, artist and social transformation.
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Jati, Jagat Hidayat, and Derajad Widhyharto. "Karier Subkultural dan Kritisisme Street Artist Yogyakarta." Jurnal Studi Pemuda 9, no. 1 (May 9, 2020): 39. http://dx.doi.org/10.22146/studipemudaugm.54831.
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This article is based on research in 2017 about street artists in Yogyakarta. The study uses qualitative method with following issue and visuals approach on six street artists to extract 3 aspects: issue, medium, and actor. Street artist as subcultural career is a process of creating space and efforts to maintain it. Street artists is mentally affected through perception of surroundings, then their awareness of reality and hopes for public spaces collide so that alternative spaces are created in the street walls, in the end the walls become space wich symbolically interpreted by the viewer. To be able to create space and maintain it, street artists have a side of criticism. Starting from the awareness of differences in public space, selection of street as a core element in the city, as well as accuracy in momentum. Criticism is carried out repeatedly and build a resistance identity. Each street artist is in a position to oppose and criticize the various problems that surround them through two work patterns, issue first or place first. The pattern is also carried out together to form a collective identity.
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Kummerfeld, Rebecca. "Ethel A. Stephens’ “at home”: art education for girls and women." History of Education Review 44, no. 2 (October 5, 2015): 203–18. http://dx.doi.org/10.1108/her-04-2013-0013.
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Purpose – The purpose of this paper is to explore the professional biography of Ethel A. Stephens, examining her career as an artist and a teacher in Sydney between 1890 and 1920. Accounts of (both male and female) artists in this period often dismiss their teaching as just a means to pay the bills. This paper focuses attention on Stephens’ teaching and considers how this, combined with her artistic practice, influenced her students. Design/methodology/approach – Using a fragmentary record of a successful female artist and teacher, this paper considers the role of art education and a career in the arts for respectable middle-class women. Findings – Stephens’ actions and experiences show the ways she negotiated between the public and private sphere. Close examination of her “at home” exhibitions demonstrates one way in which these worlds came together as sites, enabling her to identify as an artist, a teacher and as a respectable middle-class woman. Originality/value – This paper offers insight into the ways women negotiated the Sydney art scene and found opportunities for art education outside of the established modes.
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Mačianskaitė, Vilma. "Contemporary Lithuanian Artists: Career Opportunities." Art History & Criticism 13, no. 1 (December 1, 2017): 88–110. http://dx.doi.org/10.1515/mik-2017-0007.
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Summary By analysing the careers of internationally recognized artists from Lithuania and the relationship between Lithuanian contemporary artists and art galleries and museums, the author explores the challenges faced by today’s artists and hypothetically underlines the principles that could be useful for them in seeking to enter into the global art scene. The essay analyses the lack of cooperation between artists and galleries, and the representation of artists in Lithuanian museums, which is considered to be the base of a contemporary artist’s career. The essay assesses the influence of the main participants in the art market upon artists’ careers, by investigating the Lithuanian art market’s position after the restoration of independence in 1990. Twenty Lithuanian artists, major galleries or representatives of museums (such as the National Art Gallery and the MO Museum, formerly known as the Modern Art Centre) were interviewed for the purposes of this study. This examination of the Lithuanian art market reveals the peculiarities that artists have encountered, and could help international art market players to better understand the problems that the Lithuanian art market is facing. The author seeks to identify the main factors helping artists to navigate the global art scene and the global art market.
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PRICE, JASON. "Minnie Cunningham at the Old Bedford." Theatre Research International 45, no. 2 (June 24, 2020): 124–42. http://dx.doi.org/10.1017/s030788332000005x.
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Minnie Cunningham (1870–1954) was a British music hall star and actress whose career spanned nearly forty years. Today she is primarily remembered through paintings made of her by the prominent British artist Walter Sickert (1860–1942) in the early 1890s. Despite her popularity, Cunningham has mostly been overlooked in music hall and theatre histories. Instead, the limited information that is available about her today comes to us primarily through art-history scholarship on Sickert. To fill this gap, this paper offers the first scholarly account of Cunningham by drawing together press notices, published interviews, and other artefacts from her long career. This introduction to Cunningham is framed by a discussion of the unevenness of the cultural transactions taking place between these artists – between the ‘higher’ arts practice of modern painting and the perceived ‘lower’ music hall. I consider how this imbalance played out at the time these artists worked and the impact this has had in the preservation (or lack thereof) of their artistic practices.
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Priatama, Rezza Pahruroji, Anwar Supenawinata, and Ila Nurlaila Hidayat. "Makna Hidup Dibalik Seni Tradisional: Studi Fenomenologi Kebermaknaan Hidup Seniman Sunda." Jurnal Psikologi Islam dan Budaya 2, no. 1 (April 30, 2019): 43–64. http://dx.doi.org/10.15575/jpib.v2i1.2949.
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Globalization brings positive and negative impacts to the culture, including in Indonesia. One of the negative impacts is the decreasing interests of Indonesians on traditional arts, which may lead to less interests on career as an artist. However, artists in Sanggar Bandungmooi were different. The purpose of this study is to explore the meaning of life of local artists in Sanggar Bandungmooi. The method used is qualitative with phenomenology type. The data was collected using observation and interview. The subjects were two artists, aged 24 and 50 years old. The results show that both subjects have a meaning of life that is beneficial to others. Their meaning of life can help them to determine their life purposes. Both subjects find the meaning of life through their own efforts and the supports from the social environment. They try to anticipate negative consequences and show positive attitudes in facing life conditions.
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Eschenburg, Madeline, and Ellen Larson. "The Round Table 03 圆桌: A Conversation with Xu Bing." Contemporaneity: Historical Presence in Visual Culture 4 (August 3, 2015): 201–7. http://dx.doi.org/10.5195/contemp.2015.157.
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The following is an excerpt from a conversation between contemporary Chinese artist Xu Bing, Madeline Eschenburg, and Ellen Larson. Xu Bing curated an exhibition at the Central Academy of Fine Arts titled The Second CAFAM Future Exhibition, Observer-Creator: The Reality Representation of Chinese Young Art, on exhibition through March 2015. Our conversation centered around his thoughts on a new generation of young Chinese artists as well as reflection on his own early career and time in New York. The conversation was conducted in Chinese and has been translated into English.
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Jardine, Lisa. "‘O decus Italiae virgo’, or The Myth of the Learned Lady in the Renaissance." Historical Journal 28, no. 4 (December 1985): 799–819. http://dx.doi.org/10.1017/s0018246x00005070.
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Let me start by making it clear that, taken at face value, my title is entirely a piece of mischief: I am not about to disclose the fact that there were actually no learned women in Italy in the fifteenth century. Indeed, this paper is built around the careers and works of five distinguished women intellectuals of that period: Isotta Nogarola (1418–66); Costanza Varano (1426–77); Cassandra Fedele (c. 1465–1558); Laura Cereta (1469–99); and Alessandra Scala (1475–1506). There is, however, a serious point to my choice of words in the title. The point is that the ‘learned lady’ of the Renaissance (the cultivated noblewoman, beautiful, charming, gifted, ‘gentile’) has a mythic place in the secondary historical literature on humanism. From Isabella d'Este to Sir Thomas More's daughters and the English Tudor princesses, the cultivated gentlewoman is the Beatrice or the Laura of some male humanist's circle, his hi adoring pupil, his inspiration, his idol. Scholars adopt a fondly indulgent tone when discussing the women, which carries the implication that their intellectual calibre, their actual standing as scholars and humanists, is not a real issue, is perhaps not in fact of any real substance (a figment, rather, of their male admirers' or suitors' imaginations). The single scholarly piece of any significance on the life and work of Alessandra Scala concludes with typical sentimental indulgence:Her noble and elusive aspect – for no portrait of her survives, unless perhaps she smiles at us, unrecognised, in the guise of a saint or a goddess, from one of Botticelli's canvases, or that of some other Florentine artist – yet that aspect shines forth from the shadows of the past, and casts a beauteous and gracious light upon the discordant chorus of Florentine humanism at the end of the fifteenth century.
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Fensham, Rachel. "“Breakin' the Rules”: Eleo Pomare and the Transcultural Choreographies of Black Modernity." Dance Research Journal 45, no. 1 (December 10, 2012): 41–63. http://dx.doi.org/10.1017/s0149767712000253.
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The radical innovations of African-American artists with artistic form during the 1960s and 1970s, according to black performance theorist Fred Moten, led to a new theorization of the avant-garde. His book, In the Break: The Radical Aesthetics of the Black Tradition, discusses the poetry and jazz music of artists, from Amiri Baraka and Billie Holiday to Charles Mingus, and extols their radical experimentation with the structures and conventions of aurality, visuality, literature, and performance dominant in European art and aesthetics. In this essay, I consider the implications of these processes of resignification in relation to the choreographic legacy of the artist, Eleo Pomare, whose work and career during this period was both experimental and radical and, I will suggest, critical to the formation of a transnational, multiracial conception of modern dance.
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Moss, Hilary, and Desmond O’Neill. "Narratives of health and illness: Arts-based research capturing the lived experience of dementia." Dementia 18, no. 6 (October 12, 2017): 2008–17. http://dx.doi.org/10.1177/1471301217736163.
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Introduction This paper presents three artists’ residencies in a geriatric medicine unit in a teaching hospital. The aim of the residencies was creation of new work of high artistic quality reflecting the lived experience of the person with dementia and greater understanding of service user experience of living with dementia. This paper also explores arts-based research methodologies in a medical setting. Method Arts-based research and narrative enquiry were the method used in this study. Artists had extensive access to service users with dementia, family carers and clinical team. Projects were created through collaboration between clinical staff, arts and health director, artist, patients and family carers. Each performance was accompanied by a public seminar discussing dementia. Evaluations were undertaken following each residency. The process of creating artistic responses to dementia is outlined, presented and discussed. Results The artworks were well received with repeat performances and exhibitions requested. Evaluations of each residency indicated increased understanding of dementia. The narratives within the artworks aided learning about dementia. The results are a new chamber music composition, a series of visual artworks created collaboratively between visual artist and patients and family carers and a dance film inspired by a dancer’s residency, all created through narrative enquiry. Discussion and conclusion: These projects support the role of arts-based research as creative process and qualitative research method which contributes to illuminating and exploring the lived experience of dementia. The arts act as a reflective tool for learning and understanding a complex health condition, as well as creating opportunities for increased understanding and public awareness of dementia. Issues arising in arts-based research in medical settings are highlighted, including ethical issues, the importance of service user narrative and multidisciplinary collaboration in arts and health practice and research.
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Reitsamer, Rosa, and Rainer Prokop. "Keepin’ it Real in Central Europe: The DIY Rap Music Careers of Male Hip Hop Artists in Austria." Cultural Sociology 12, no. 2 (May 2, 2017): 193–207. http://dx.doi.org/10.1177/1749975517694299.
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This article sets out to broaden our understanding of the significance of authenticity, locality and language for the development of a do-it-yourself (DIY) rap music career by taking male rap artists in Austria as an example. Drawing on interviews carried out in 2014–2015 with two groups of rap artists from different social and cultural backgrounds who embarked on their rap music careers in the early 1990s and the early 2000s, we analyse their rap lyrics and the social and economic contexts in which these individuals became rappers. We examine how the artists articulate claims to authenticity by appropriating African-American rap styles, meanings and idioms and blending them with local languages and references to local cultures and national politics. We also examine the rappers’ relationship to the music industry and the use of informal channels for the production, performance and consumption of rap and hip hop in general. The article suggests that the DIY careers of these rap artists depend on both the rappers’ use of music to articulate claims to authenticity and their ability to form (trans-)local networks for sharing skills, knowledge and other resources, as well as on Austria’s cultural policy and the changes in the music industry that have taken place in recent years.
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Dennison, Lynda. "An Illuminator of the Queen Mary Psalter Group: The Ancient 6 Master." Antiquaries Journal 66, no. 2 (September 1986): 287–314. http://dx.doi.org/10.1017/s0003581500028092.
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This study traces the career of a single illuminator (the Ancient 6 Master) who was active in England from c. 1310 to 1335. For much of this time it can be shown that he worked in collaboration with the artist of Queen Mary's Psalter, one of the most profusely illustrated English manuscripts in existence Although a large number of books have been grouped under the heading of the ‘Queen Mary’ style, they have never received a proper classification, nor has any detailed attention been given to the problem dating. This paper attempts both to isolate the works in which the two artists participated and to propose a sequence ofproduction. Since most of these manuscripts are devoid of internal documentary evidence for dating, a chronology has been devised on the basis of the Ancient 6 Master's artistic development; this has involved an investigation of minor aspects of style. As a result, it has been possible to learn about the career of the Queen Mary Artist, and by virtue of the few firmly datable manuscripts, viewed in the light of the chronology proposed, dates have been suggested for the others within this group.
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Holwerda, Joslin. "Art in Early Modern Italy: Artemisia Gentileschi and Caravaggio." General: Brock University Undergraduate Journal of History 3 (December 18, 2018): 122–49. http://dx.doi.org/10.26522/gbuujh.v3i0.1673.
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This paper compares the careers of two internationally known painters from seventeenth century Rome, one male and one female, to further understand the broader gender relations of early modern Italy. Michelangelo Merisi da Caravaggio and Artemisia Gentileschi are individually known for being Italy’s greatest painters of the Baroque period. As artists, the professional challenges that they faced exemplified the dichotomy between genders in the early modern period. While Caravaggio’s controversial art style and violent lifestyle did not hinder his success, Gentileschi faced persistent apprehension and criticism by her contemporaries, solely because she was a woman working in an almost exclusively male profession. The professional restrictions and limitations that were experienced by female artists in the seventeenth century are represented in the career and reputation of Artemisia Gentileschi. By comparing the art, careers, and reputations of Rome’s most notable painters, this paper offers insight into how art is representative of gender and gender relations in early modern Italy.
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Sweetman, Amy. "Career Profile: Biological Psychologist and Artist." Journal of Chemical Education 84, no. 10 (October 2007): 1567. http://dx.doi.org/10.1021/ed084p1567.
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