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Journal articles on the topic 'Artist'
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Shields, Alison Lea, Ingrid Mary Percy, and Teresa Vander Meer-Chassé. "Making Time and Space for Art: An Examination of an Artist-in-Residence Within a Postsecondary Art Education Program." Canadian Review of Art Education 48, no. 1 (December 11, 2021): 73–99. http://dx.doi.org/10.26443/crae.v48i1.96.
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Abstract: This article examines the process and impact of an artist-in-residence program in Art Education at the University of Victoria. After an open call to artists, contemporary Upper Tanana visual artist, Teresa Vander Meer-Chassé, member of the White River First Nation of Beaver Creek, Yukon and Alaska was selected as the inaugural artist-in-residence. Through research-creation and qualitative methods this research examines the artist’s artistic process and the impact of an artist-in-residence on students’ and faculty’s perception of artistic practice and their experience working with an artist-in-residence within a post-secondary space of learning. Through photographic documentation, reflections and interviews by participants, the article examines ways the artist-in-residence enriched student and faculty learning in a Faculty of Education. Keywords: Artist-in-residence; Post-secondary education; Artistic inquiry; Indigenous pedagogy; Beading. Résumé : Cet article s’intéresse au processus et à l’impact d’un programme d’artiste en résidence dans le domaine de l’enseignement des arts à l’Université de Victoria. Suite à une audition ouverte d’artistes, l’artiste visuelle contemporaine du Haut Tanana Teresa Vander Meer-Chassé, membre de la Première Nation de White River de Beaver Creek, du Yukon et de l’Alaska, a été choisie artiste-résidente inaugurale. La présente recherche utilise des méthodes quantitatives et de recherche-création pour étudier la démarche artistique de l’artiste et l’impact d’une artiste-résidente sur la perception de la pratique artistique chez les étudiants et le corps enseignant. On y analyse aussi l’impact de collaborer avec une artiste-résidente en milieu d’apprentissage postsecondaire. Documentation photographique, réflexions et entrevues des participant.e.s sont mises à profit pour déterminer de quelles façons l’artiste- résidente a enrichi l’apprentissage étudiant et du corps enseignant au sein de la Faculté d’éducation. Mots-clés : artiste-résidente, enseignement postsecondaire, recherche artistique, pédagogie autochtone, perlage.
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Traduzido por Talita Trizoli, Howardena Pindell. "CONSELHOS PARA UM JOVEM ARTISTA NEGRO / Advices to a young black artist." arte e ensaios 27, no. 42 (January 3, 2022): 336–41. http://dx.doi.org/10.37235/ae.n42.22.
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Nesse ensaio confessional, a artista afro-americana Howardena Pindell rememora alguns epis�dios de racismo em sua trajet�ria profissional como artista e curadora, al�m de oferecer alguns conselhos profissionais para jovens artistas negros, a fim de escapar de rela��es abusivas de trabalho, golpes e demais�problemas existentes no sistema das artes.Palavras-chave:Ensaio de artista. Sistema das artes. Conselhos.�AbstractIn this confessional essay, the African-American artist Howardena Pindell recalls�some episodes of racism in her professional trajectory as an artist and curator, as well as offering some professional advice to young black artists, in order to escape from abusive work relationships, scams and other problems existing in the arts system.Keywords:Artist essay. Art system. Advice.
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Marter, Joan, and Amy J. Wolf. "Significant Others: Artist Wives of Artists." Woman's Art Journal 15, no. 2 (1994): 57. http://dx.doi.org/10.2307/1358612.
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Yu, Sang-Min, and Yun-Suk Lee. "A Study on the Relationship between Institutional Factors and Stress in Popular Culture Artists." Korea Association Of Cultural Economics 27, no. 1 (April 30, 2024): 181–207. http://dx.doi.org/10.36234/kace.2024.27.1.181.
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This study aims to analyze the stress experienced by popular culture artists in the changing work environment. This study used the data from the '2021 Survey on Artists & Activities' in Korea. We analyzed the impact of institutional factors on artists' stress by popular culture field through Ordered logistic regression analysis between film, broadcast, and popular music artists and their stress levels. Career Interruption, Activities period, education, On-the-job injury, residence area and full-time status of broadcast artist significantly affected artist's stress. Also, Public Pension Salaried Workers of broadcast artist, and Group membership of popular music artist significantly affected artists' stress. On the other hand, Experience with Artist Unemployment Insurance were not found to be significant variables. This study suggests that the impact of institutional factors may differ depending on the nature of the popular culture sector, and shows the social limitations of the Artist Unemployment Insurance. The findings suggest that institutional improvements are needed, such as including artists in the scope of existing welfare schemes.
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Nicholas Addison and 정옥희. "Artist Teachers/Teaching Artists: Negotiating Pedagogic Identities." Journal of Research in Art Education 11, no. 1 (January 2010): 51–84. http://dx.doi.org/10.20977/kkosea.2010.11.1.51.
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MacDonald, Margaret Flora. "James McNeill Whistler: An Artist on Artists." Visual Culture in Britain 16, no. 2 (May 4, 2015): 200–222. http://dx.doi.org/10.1080/14714787.2015.1038437.
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Caire da Silva, Regiane Aparecida. "A formação do artista botânico no século XIX: fronteira entre ciência e arte." História da Ciência e Ensino: construindo interfaces 20 (December 29, 2019): 823–35. http://dx.doi.org/10.23925/2178-2911.2019v20espp823-835.
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ResumoA imagem botânica percorreu tendências e possibilidades técnicas singulares ao longo da sua história. Diferentes teorias influenciaram na representação das imagens das plantas, bem como a importante relação entre artista, desenhista, gravador e cientista, uma confluência entre teoria e prática - ciência e arte – apresentadas em edições fundamentais da historiografia botânica. Houve, portanto, a necessidade de formação do ilustrador para as edições científicas e de distingui-lo do artista paisagista ou pintor de flores. Contudo, essa distinção foi tênue, levando-se em conta que a própria Taxonomia de Lineu, com a publicação da obra Systema Naturae (1735), por destacar a flor na classificação, fez com que as imagens científicas estivessem muito próximas às pinturas florais decorativas. Necessitou-se da parceria do artista com o botânico, uma combinação que não ficou reservada às edições de livros e trocas de informações teóricas, mas difundiu-se igualmente na metodologia de ensino em botânica.Cabe notar que, além de desenhos ou gravuras para o aprendizado, também existiam tratados e manuais direcionados para a formação inicial do artista botânico. Este trabalho pretende mostrar que a instrução do ilustrador botânico era complexa e dependia substancialmente de esforços colaborativos entre o cientista e o artista. Principalmente na sua integração às concepções e orientações científicas para se diferenciar do pintor comum, e não apenas da habilidade artística.Palavras-chave: História da Ciência. Artista botânico. Ensino. AbstractThe botanical image has traced trends and unique technical possibilities throughout its history. Different theories influenced the representation of plant images, as well as the important relation between the artist, the draftsman, the engraver and the scientist, a confluence of theory and practice - science and art – featured in fundamental editions of botanical historiography. Therefore, there was a need for illustrators to be trained for scientific editions and to distinguish themselves from landscape artists or flower painters. However, this distinction was subtle, with the very Taxonomy of Linnaeus in his work Systema Naturae (1735) containing images that resembled decorative floral paintings due to the flowers being highlighted for classification. The partnership between the botanist and the artist became necessary not only in publishing and for scientific communication but was also incorporated in methodologies used for botany teaching. It is noteworthy that, in addition to drawings and engravings used as learning material, there were also treatises and manuals intended for the initial training of botanical artists. This work intends to show that the instruction of the botanical illustrator was complex and depended substantially on collaborative efforts between the scientist and the artist. Mainly in its integration to the scientific conceptions and orientations to differentiate itself from the common painter, and not just artistic ability.Keywords: History of Science. Botanical artist. Education.
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Ashby, James B. "Bridging the Gaps: The Puppets Up! International Puppet Festival." Canadian Theatre Review 138 (March 2009): 33–38. http://dx.doi.org/10.3138/ctr.138.006.
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Puppet artists, from the fatherly Geppetto in The Adventures of Pinocchio to the more troubled Craig Schwartz in Being John Malkovich, are often represented as loners, pursuing their chosen art without any outside aid. The solitary puppet artist certainly exists, but as Steve Tillis points out, “[T]he opportunity for control that puppetry offers the artist is frequently taken up less for artistic reasons than for financial ones, at least in America”; and the situation is not markedly different in Canada: “[I]t is often only by working alone that an artist can earn a living” (33). Even the lone puppet artist — or indeed, perhaps especially she — can learn from exchanging ideas and techniques with other artists, however. Moreover, puppetry as a whole can only benefit from the intellectual and artistic cross-pollination that ensues when artists and companies come together in the same space, at the same time, to view and discuss each other’s work. A puppet theatre festival offers a rare chance for artists to do just that.
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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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Sjöholm, Jenny, and Cecilia Pasquinelli. "Artist brand building: towards a spatial perspective." Arts Marketing: An International Journal 4, no. 1/2 (September 30, 2014): 10–24. http://dx.doi.org/10.1108/am-10-2013-0018.
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Purpose – The purpose of this paper is to analyse how contemporary artists construct and position their “person brands” and reflects on the extent to which artist brand building results from strategic brand management. Design/methodology/approach – A conceptual framework proposes a spatial perspective on artist brand building to reach an analytical insight into the case of visual artists in London. The empirical analysis is qualitative, based on serial and in-depth interviews, complemented by participant observations. Findings – Artist brand building relies on the creation and continuous redefinition of “in-between spaces” that exist at the blurred boundaries separating an individual and isolated art studio, and the social and visible art scene. Artist brand building is a bundle of mechanisms that, mainly occurring without strategic thinking, are “nested” within the art production process throughout which learning, producing and performing are heavily intertwined. Research limitations/implications – This study was undertaken with a focus on visual artists and specific operations and spatialities of their individual art projects. Further empirical research is required in order to fully explore the manifold of practices and spatialities that constitute contemporary artistic practice. Practical implications – This study fosters artists’ awareness of branding effects that spillover from artistic production, and thus potentially opens the way to a more strategic capitalization on these. Originality/value – The adopted spatial perspective on the process of artist brand building helps to uncover “relatively visible” and “relatively invisible” spatialities that, usually overlooked in branding debate, play a significant role in artist brand building.
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Z.R., Khamzatova. "PHILOSOPHICAL AND CULTURAL ASPECTS OF UNDERSTANDING SOVIET PAINTING OF THE 60-80S OF THE XX CENTURY (BASED ON THE MATERIAL OF A. ASUKHANOV'S CREATIVITY)." “Educational bulletin “Consciousness” 24, no. 11 (November 30, 2022): 83–91. http://dx.doi.org/10.26787/nydha-2686-6846-2022-24-11-83-91.
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The purpose of the article is a culturological analysis of the artistic creativity of Amanda Abasovich Asukhanov in the context of the development of Soviet painting in the 1960s-80s. The study involves the consideration of socio-cultural, regional, national-ethnic aspects, contemporary trends of the artist, which are manifested in the painting of the Honored Artist of Russia, People's Artist of the Chechen Republic, Honored Artist of the Republic of Dagestan, a representative of the first generation of Chechen artists who joined the Union of Artists of the USSR. From the point of view of the socio-cultural situation, the period of the artist's work of the 1960s-1980s is considered in detail, when his artistic worldview, philosophical position was formed, which was reflected in a number of paintings.
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Cannon, Rob. "Beyond the headlines: media representations of artist discourse on the artist-label relationship." IASPM Journal 12, no. 1 (December 16, 2022): 3–26. http://dx.doi.org/10.5429/2079-3871(2022)v12i1.2en.
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The relationship between artists and record labels is instrumental in developing successful artist careers. Such relationships are periodically discussed in the popular media, with a narrative that often casts them as disadvantageous for artists. However, there lacks formal research into the nature and quality of these relationships, and the factors that influence their outcomes.
Numerous published videographic media were analysed to investigate artists’ perspectives on the nature of these relationships, and the extent to which such perspectives aligned with media narratives.
Analysis showed that artists expressed both negative and positive perspectives. Pertinent factors included: the competence, expertise, and value of labels, the contract, the nature of interpersonal interaction between artist and label, and the alignment of expectations and goals. In many cases, the behaviours and characteristics of specific individuals within a label had significant impact on whether artists’ experiences were positive or negative. Organizational and systemic factors were also influential.
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Hsieh, Yung-Cheng, and Ssu-Yu Cheng. "The New Taipei City Artist Map Project: The Compilation and Promotion of the Greater Danshui Artist Map." International Journal of Humanities and Arts Computing 7, supplement (March 2013): 201–15. http://dx.doi.org/10.3366/ijhac.2013.0070.
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‘The Compilation and Promotion of the Greater Danshui Artist Map’ is the first-stage plan from the ‘New Taipei City Artist Map Project’ by Culture Affairs Bureau of New Taipei C ity. The goal of this project, named ‘One Year, One Village’, is to conduct field survey, in-depth interviews, artwork digitisation and promotional events on artists and art villages within Ney Taipei City. Information from the research and its resulting digitised visual and audio contents will become the foundation for future development and production of arts emerging from the growing cultural originality in New Taipei C ity. In addition to utilizing the traditional ‘direct observation’ approaches to obtain first-hand information and establish contacts with local artists, the research also takes on a field survey approach to conduct verbal interviews and complete digital photographs of artists’ artworks. The combination of these methods had achieved a complete and accessible artist archive for the Greater Danshui. Using the surveyed results and digital content, the Greater Danshui artists map website, ( http://artist-map.ntpc.gov.tw/sd_/ ) was completed and a pamphlet for arts of Greater Danshui was published.
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Çetin, Zeynep, and Cansu Yıldız Taşdemir. "Investigating Preschoolers’ Perception of Artists: Drawing an Artist." International Journal of Art & Design Education 41, no. 1 (February 2022): 171–88. http://dx.doi.org/10.1111/jade.12399.
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Anonymous. "Artist-Writers, Writer-Artists: An Anonymous Vox Pop." Circa, no. 122 (2007): 28. http://dx.doi.org/10.2307/25564856.
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Booth, Eric. "New Framework for Understanding the Field of Artists Who Work in Community and Education Settings." ENGAGE! Co-created Knowledge Serving the City 4, no. 1 (June 22, 2022): 7–15. http://dx.doi.org/10.18060/26047.
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This paper presents a Framework for understanding the field of teaching artists (also known by other terms such as community artist, participatory artist, social practice artist, civic practice artist, artist-in-residence and more) in the U.S. and around the world. This paper describes the current state of the field, which is disparate and disorganized and suggests that previous ways of describing it have proved unhelpful. This pioneering Framework was developed in partnership with practitioners in many communities over years, and was vetted by practitioners in communities around the world to affirm its validity. This Framework was introduced by the author about a decade ago, categorizing the field according to the purposes for which these artists are hired, which turn out to be seven identifiable threads that contain almost all employment in the U.S. and in other countries. This Framework has proven useful in clarifying and advancing the field in a variety of communities, for administrators, for practitioners, for funders, and for those discovering, entering, and advancing in the field. This paper introduces the Purpose Threads and describes each one, giving community-based examples of organizations that employ teaching artists to achieve their goals, and suggesting ways in which one might evaluate whether each purpose is achieved. This paper acknowledges that the seven purposes do not play out discretely in practice, but naturally overlap, and the author identifies a series of basic teaching artist tools that apply across all threads. The author also discusses teaching artist work in digital media, a reality that has burst into prominence during the Covid pandemic. The author invites readers to apply this material in whatever ways are useful.
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Luo, Yun, Pengcheng Xiang, and Bo Li. "Research on Sustainable Development Model of Chinese Artist Village." Buildings 13, no. 1 (January 9, 2023): 164. http://dx.doi.org/10.3390/buildings13010164.
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As a development form of the creative industry, the Artist Village is a high concern of the Chinese government, and it has achieved rapid developments in China in recent years. However, many Artist Villages come to an untimely end a short period after their birth and fail to realize sustainable development. In this study, an empirical analysis on 80 Artist Villages in China was carried out. A field investigation and research on eight Artist Villages was implemented. Attention was paid to thoroughly analyze three typical Artist Villages of Guangzhou Xiaozhou Artist Village, Chongqing Gujianshan Artist Village and Beijing Songzhuang Artist Village. It has been found from studies that the development of Artist Villages in China has experienced initiation, development and maturity stages. The development of Artist Villages in China generally has many problems, such as an insufficient endogenous impetus, the excessive intervention of government, market capital “squeezing out” the original artists, and so on. This paper proposed a sustainable development model for Artist Villages during urbanization in China based on the findings and conclusions of this study. This study not only enriches research contents in this field, but can also provide meaningful references for the sustainable development of Artist Villages in China.
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Navndrup Black, Laura. "From artist to artist-researcher *." Peripeti 18, no. 33 (January 23, 2021): 26–35. http://dx.doi.org/10.7146/peri.v18i33.124623.
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Presenting a personal account of some of the methodological considerations connected to making the shift from artist to artist researcher, this article asks: how does one create favourable conditions for valid moments of insight to occur in a practice that focuses on participatory choreographic practices involving children and young people? The article unpacks the tangled relationship between ‘practice’ and ‘research,’ and the author proposes the term practice-driven research to suggest an approach where the artistic practice is both the object, the method and the outcome of the research. Drawing parallels to decolonisation practices, the article highlights the importance of shared (re-)naming of central concepts. It is suggested that choreographic strategies that are less concerned with movement language, relying instead on expressive concepts and operating within the field of expanded choreography, may allow the participants to skip the translation of (culturally dependent) movement language and move more readily into a shared, open-ended artistic investigation.Disruption of current prevalent practice within both the social and the artistic field is identified as necessary in order to achieve success in works that span pedagogy, participation and performance (Bishop, 2012), and a practical example of such a disruption strategy based on the KUV project ‘It wont be the same here when it is no longer now’ (2017) is provided.
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Grannemann, Hannah, and Amy Whitaker. "Artists’ Royalties and Performers’ Equity: A Ground-Up Approach to Social Impact Investment in Creative Fields." Cultural Management: Science and Education 3, no. 2 (December 16, 2019): 33–52. http://dx.doi.org/10.30819/cmse.3-2.02.
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In this paper we argue that new models of artists’ royalties and performers’ equity can form the basis of social impact funds in the arts. Following the principle that those who contribute value should own part of it, we model social impact funds using a “value creation” lens, starting with royalties, profit shares, and other rights granted to visual artists, performers, and playwrights (referred to collectively as “artists”). We draw on data from DACS, the United Kingdom manager of the Artist Resale Right (ARR) and copyright licensing, as well as Arts Council England. We build on case studies of the Artist Pension Trust and Olav Velthuis’ suggestion of applying football (soccer) transfer fees to the arts, in order to argue for an artist-centric view of sustainable investing in the culture sector. This proposal complements cultural impact investing funds started by LISC and Upstart Co-Lab while creating more diversifiable, flexible, and artist-centric systems to address problems of risk and diversification of early-stage investment in creative work.
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Paek, Mihyun. "Exploring Generational Theory in Artists' Perception of Occupational Identity and Art Labor: for the second generation around the age of 40." Korean Society of Culture and Convergence 45, no. 3 (March 30, 2023): 305–24. http://dx.doi.org/10.33645/cnc.2023.03.45.03.305.
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The purpose of this study is to explore the generational theory of artists' job identity and perception of artistic labor, and 16 artists around the age of 40 (30-59) were interviewed in-depth to interpret their perceptions. As a result of the study, no clear generational theory was confirmed around the age of 40. The same perception without generational differences is first, most of the participants consider the artist job to be an “incomplete” job that cannot be compensated for their livelihood, and hope to become a “full-time Artist” before they die. Second, they pursue the spirit of “spirit of freedom of pure creation” derived from the myth of poor genius artists. On the other hand, the perception of the artist welfare system showed a generation gap in “interest” and “experience” around the age of 44, and “in-generation conflict” before the age of 44 was confirmed in terms of “awareness.” In addition, 'side jobs to maintain artistic creativity' have now been promoted to names such as 'second jobs', and 'main jobs' alongside artist job.
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Galindo, Mateo, and Michele Thursz. "Contemporary Strategies of Sonic Agency." Resonance: The Journal of Sound and Culture 5, no. 1 (2024): 51–81. http://dx.doi.org/10.1525/res.2024.5.1.51.
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As an institutional resident at the International Studio and Curatorial Program (ISCP) in New York City, Mateo Galindo of Atomic Culture curated an exhibition of nine artists whose work is at the forefront of a new current in the art world, particularly with their engagements of sound. Wave Phenomena: Contemporary Strategies of Sonic Agency was on view from September 2023 to January 2024; it examined the use of sound as a catalyst for personal, political, spiritual, and environmental considerations. Michele Thursz invited Galindo to select a few artists from the exhibition and engage them in a conversation about sonic agency. He chose three artists: the founder of Black Monument Ensemble, artist and educator Damon Locks; Lakota artist and PhD Suzanne Kite; and Pawnee/Crow and Tulsa Artist Fellow Warren Realrider. These intimate conversations touch on the artists’ life experiences and how these moments affect their art.
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Kupchyk, Xenia. "Nil Khasevych — creator of UPA combat graphics." Вісник Книжкової палати, no. 11 (March 24, 2022): 42–44. http://dx.doi.org/10.36273/2076-9555.2020.11(292).42-44.
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Ukrainian art of the twentieth century in the world context it is represented by a whole galaxy of diaspora artists. One such figure is Neil Khasevych, a prominent Ukrainian artist, graphic artist, public and politicalfigure, and member of the OUN.
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Félix-Jäger, Steven. "Creational Aesthetics and the Challenge of Conceptual Art." Religion and the Arts 20, no. 5 (2016): 663–73. http://dx.doi.org/10.1163/15685292-02005005.
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A trend in theological aesthetics is to advocate for a “creational aesthetic” when discussing the ontology and calling of the artist. In its essential form, a creational aesthetic affirms that artists honor the Creator God by creating art. In some way artists are functioning as God’s image when they make art. While this view is popular in the Christian engagement of the arts, it is uncertain if such an observation is the preeminent way of understanding the role of the artist. Can one be considered an artist if s/he is removed from the tactile process of making? In the contemporary art world, the role of the artist in visual art has come into question with a stronger emphasis on conceptuality, over and against construction. In this article I argue for an alternate way of understanding creational aesthetics that makes room for conceptuality in art.
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Mevorah, Vera, Jelena Guga, and Cedomir Markov. "Divine genius, subversive hero, or creative entrepreneur? Exploring various facets of the artist as a mythical figure." Bulletin de l'Institut etnographique 71, no. 1 (2023): 99–121. http://dx.doi.org/10.2298/gei2301099m.
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People have always related art to the creation and transmission of myths. While myth as a theme in art has been thoroughly addressed, research about the ?mythic? nature of the artist figure is far less common. The 20th and 21st centuries brought challenges to the status of art and artists in society, historically situated archetypes and stereotypes that we associate with the figure of the ?artist? still survive to this day (e.g. ?genius?, ?subversive artists?, ?child prodigy?, ?eccentric?, etc.). In this paper, we set out to analyze various tropes used persistently to describe artists and explore how relevant the resulting myths are in (self) perceptions of Serbian contemporary artists. Our multidisciplinary approach to this topic combines a historical-theoretical and empirical perspective. Through historical research of the relevant literature, we described and mapped the key tropes of the (mythical) artist figure as it developed in Western culture. In the theoretical analysis we address the inseparability of digital culture with everyday life of people today, which we call postdigital. We explore how the transition into contemporaneity affects the determination of the ?artist-figure?, i.e., how it impacts the contemporary process of myth-making. Following our historical-theoretical analysis, we conducted five in-depth interviews with contemporary Serbian artists to understand better how relevant the artistmyth tropes are for their self-perception.
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Rivero Moreno, Luis D. "Artista contemporáneo busca público al que enfrentarse. Sobre el arte como hecho comunicativo." Liño 23, no. 23 (June 30, 2017): 147. http://dx.doi.org/10.17811/li.23.2017.147-158.
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RESUMEN:Desde comienzos del siglo XX, el objetivo de la vanguardia fue la ruptura con los condicionantes que limitaban la comunicación en el hecho artístico. Las tentativas de hacer fluir la comunicación entre artista y público se han basado en diversas estrategias: de la socialización de la creación a la disolución material de la obra como elemento intermedio. Gran parte del arte contemporáneo ha tratado de convertir al público en partícipe, o bien conseguir involucrar al artista en la sociedad. Una tercera salida será la de la presencia física de artista y público en un mismo lugar y mismo tiempo.PALABRAS CLAVE:Arte contemporáneo; semiología; artista; público; participación en el arte.ABSTRACT:Since the early twentieth century, the goal of the avant-garde was the break with the constraints that limited the artistic communication. The attempts of flowing communication between artist and audience have relied on different strategies: from the socialization of creation to the material dissolution of the work as intermediate between both. Much of contemporary art is built on the attempt to turn the audience into a participant, or get involve the artist in society. A third output will be the physical presence of the artist and audience in the same place and the same time.KEY WORDS:Contemporary art; semiology; artist; public; participation in art.
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Demir, Duygu. "Introduction to İsmail Saray's Leonardo da Vinci." ARTMargins 3, no. 3 (October 2014): 111–25. http://dx.doi.org/10.1162/artm_r_00097.
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Aiming to contextualize Turkish artist İsmail Saray's artist book Leonardo da Vinci (1976), this text centers around the artist's educational formation and the early years of his artistic practice between the years of 1973–1980, when he was based in Turkey. Tracing key moments in this period including his participation in the Paris Biennial of 1977, the Yeni Eğilimler [New Trends in Art] exhibition of 1979 in Istanbul as well as his guest appearance in the exhibition Sanat Olarak Betik [Book as Art] organized by the conceptualist artist collective Sanat Tanım Topluluğu. This essay also gives a glimpse of the conditions under which artists were operating at the time, heavily influenced by the political developments in Turkey. The dematerialization of Saray's practice is traced through the artist books and his production on paper, including correspondence that led to the production of his artworks by fellow artists elsewhere, a phenomenon that awaits further investigation.
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Saray, İsmail. "Leonardo da Vinci." ARTMargins 3, no. 3 (October 2014): 126–30. http://dx.doi.org/10.1162/artm_r_00098.
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Aiming to contextualize Turkish artist İsmail Saray's artist book Leonardo da Vinci (1976), this text centers around the artist's educational formation and the early years of his artistic practice between the years of 1973–1980, when he was based in Turkey. Tracing key moments in this period including his participation in the Paris Biennial of 1977, the Yeni Eğilimler [New Trends in Art] exhibition of 1979 in Istanbul as well as his guest appearance in the exhibition Sanat Olarak Betik [Book as Art] organized by the conceptualist artist collective Sanat Tanım Topluluğu. This essay also gives a glimpse of the conditions under which artists were operating at the time, heavily influenced by the political developments in Turkey. The dematerialization of Saray's practice is traced through the artist books and his production on paper, including correspondence that led to the production of his artworks by fellow artists elsewhere, a phenomenon that awaits further investigation.
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Griniuk, Marija. "Crossroads of Eastern Europe and the Arctic North – Artistic Personas and Creative Processes of Border-Crossing Artists." Migration Letters 20, no. 4 (July 26, 2023): 97–105. http://dx.doi.org/10.47059/ml.v20i4.3196.
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This essay explores the development of an artistic persona and choices within the creative processes of border-crossing artists. Similar to the act of border crossing, the transcorporeal experience contains attempts to enter the unity of the body of the artist and the artwork with the socio-politics of the new site for artistic expression. In the action of border-crossing, artistic practice enters the holistic approach as the human, functioning in the new and unfamiliar society, and as the artist, thus continually shaping the individual’s artistic persona and artistic voice. The focus group data from the early-career border-crossing artists originating from Belarus and living in Lithuania are used alongside my autoethnographic data as a Lithuanian artist living in the Arctic North and the visual data from a middle-career artist from Lithuania living and working in the Nordic and Arctic North regions. This data was used for the reflexive analysis. The results outline the possible impact of border-crossing on artistic practice.
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KALANOV, Asliddin. "CINEMATOGRAPHY AND ARTIST." Art and Design: Social Science 02, no. 01 (February 1, 2022): 1–3. http://dx.doi.org/10.37547/ssa-v2-i1-1.
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The article discusses the work of Khudoibergan Devonov (1879-1940), the founder of Uzbek cinema, the first Uzbek photographer and cinematographer. The report also discusses Varsham Yeremyan, a pre-production artist at the "Sharq Yulduz" studio, and later artists working at the "Uzbekfilm" studio. E. Kalontarov, who has been involved in the production of several films as a leading artist at the Uzbekfilm studio since 1959, later contributed to the development of Uzbek cinematography in collaboration with B. Nazarov, K. Nuriddinov and later directors.
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Szostak, Michał, and Łukasz Sułkowski. "THE CHALLENGES IN IDENTIFICATION OF ARTISTS-MANAGERS: CONSEQUENCES FOR CREATIVITY." Creativity Studies 14, no. 1 (March 31, 2021): 112–24. http://dx.doi.org/10.3846/cs.2021.13822.
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Research on identity, its tensions and paradoxes have extensive literature and a large number of scientists exploring the subject. Our own experiences in the fields of art and management were the main arguments for the introduce of the concept of “artists-managers” and to undertake research in the area of artists-managers’ identity to find the conclusions for creativity. This article aims to describe the challenges in the identification of artists-managers, who can be crucial in understanding the creativity factor. To reach our goal, we run empirical qualitative research based on in-depth interviews with key-informants from Europe, Africa and North America as well as auto-analysis of an artist-manager identity. We answer the research question “Who is the artist-manager?”. We present our “creativity development model” on the base of artists-managers’ characteristics and we describe what kind of challenges should be considered in the empirical research of artists-managers. These challenges may be used as guidelines for artists-managers: for those who discover an artist-manager in their personality, for defined artists-managers to help to better understand their features, and for artists-managers’ followers to be more sensitive for their leaders’ characteristics. Our model may help to understand and develop the creativity of society.
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Yalamov, Todor. "Transformation of Graphic into Conceptual Artist: Innovations, Games and Improvisations." Filosofiya-Philosophy 30, no. 4 (December 6, 2021): 413–22. http://dx.doi.org/10.53656/phil2021-04-08.
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The paper problematizes the work and evolution of a Bulgarian artist from the point of view of the biographical approach, his artistic interventions and his re-legitimization as a contemporary artist. It discusses various aspects of contemporary art from the point of view of the artist, his interventions, market demands, the underlying contradictions, as well as the transformative tendencies in the small graphics. The paper argues that it is necessary to expand the understanding of contemporary art with certain actions of artists.
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Krolow, Karl, and Stuart Friebert. "Artist." Iowa Review 17, no. 3 (October 1987): 105. http://dx.doi.org/10.17077/0021-065x.3568.
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Walker, Una. "Artist." Circa, no. 102 (2002): 46. http://dx.doi.org/10.2307/25563881.
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Feser, Frauke. "The visiting artist researcher experiment." Journal of Science Communication 14, no. 01 (March 31, 2015): C02. http://dx.doi.org/10.22323/2.14010302.
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The visiting artist researcher experiment discussed here brought together visual artists and climate scientists, amongst them my research group which studies storms. The artists’ stay led to a dialogue between our diverging perspectives and an open exchange of ideas. The exchange in my research group was more interactive than I had expected. Many conversations provided insights into ideas and work flows of the artists and, eventually, a new view on our storm studies.
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Finley, Susan, and J. Gary Knowles. "Researcher as Artist/Artist as Researcher." Qualitative Inquiry 1, no. 1 (March 1995): 110–42. http://dx.doi.org/10.1177/107780049500100107.
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Meng, Qian. "The Music Image in the Image — On the Visual Representation of the Music Image in the Painting Exhibition of Qiu Xiaofei." Arts Studies and Criticism 3, no. 2 (July 6, 2022): 217. http://dx.doi.org/10.32629/asc.v3i2.919.
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Qiu Xiaofei, an artist, is one of the most popular artists among the post-70 generation of Chinese contemporary painting. You can see from his painting creation, the subject matter of painting works and the working way of creation all start from the artistic concept similar to image text. When artists explain their paintings, the capriciousness of painting creation and the lyricism presented in the works are inseparable from the artist's infatuation with music. In this paper, from the perspective of imagology, through the analysis of the artist Qiu Xiaofei's painting creation of music images in the exhibition, it can be seen that his image text is closely related to music when transformed into visual images, and the concept of "empathy" behind the transformation of the painting form of the artist is elaborated.
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Choirun Nisak, Anis, and Wahdiyat Moko. "The effect of social media usage and innovation on makeup artist business performance by mediating competitive advantage." International Journal of Research in Business and Social Science (2147- 4478) 13, no. 3 (June 1, 2024): 85–96. http://dx.doi.org/10.20525/ijrbs.v13i3.3278.
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The creative economy industry has created millions of jobs in Indonesia. One of the creative economy fields in Indonesia is makeup artist. But the makeup artist field also has many challenges in the increasingly fierce business competition. This research aims to investigate the influence of social media usage, innovation and competitive advantage on makeup artist business performance by considering the role competitive advantage as mediators. This research was conducted in Malang Raya with a focus on the makeup artist services business. The research method used was a survey with a questionnaire as a data collection instrument. The research sample consisted of 112 respondents who were owners of makeup artist business in Indonesia. The quantitative approach is used to describe, strengthen, and explain the hypotheses proposed in the study of observed phenomena. The statistical method used for data processing is Partial Least Squares Structural Equation Modeling (PLS-SEM). This study demonstrates a significant and positive correlation between social media usage, innovation and competitive advantage on the makeup artist business performance. The results of the mediation analysis also show that competitive advantage mediate the relationship between social media usage and innovation on makeup artist business performance. Therefore, makeup artists should optimize the use of social media to improve their business performance goals. This includes the use of the latest wardrobe, makeup trend, photo and video taking techniques, keep up to date with viral makeup content. The better the use of social media, the better the innovation, and the ability to maintain a competitive advantage by fulfills client expectations will make clients buy and recommend makeup services so as to improve the performance of makeup artists both financially and nonfinancially.
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Silva, André Luiz Nunes da, and Cristina Moura Emboaba da Costa Julião de Camargo. "A Transformação da Produção Musical Independente de Canções no Século XXI." Revista da Tulha 10, no. 1 (August 22, 2024): 251–90. http://dx.doi.org/10.11606/issn.2447-7117.rt.2024.224197.
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Independent record labels and their often implicit relationship with major labels are one of the themes investigated in this historical retrospective through exploratory research with bibliographic review that addresses the musical landscape in which independent artists are embedded. Due to the complexity and breadth of the topic of independent production in the music industry, it was chosen to explore not only the structure of independent record labels but also the nature of independent scenes themselves. For this purpose, categories such as "independent artist," "artist direct" (Mulligan, Mark, 2021), and "artist entrepreneur" (Cerqueira, 2018) will be addressed. Furthermore, the importance of the contemporary connection between independent artists and the consumer market for songs through social networks will be highlighted, as they have become an important channel for the dissemination and promotion of their works. This work arises from the close relationship of one of the authors of the article with independent music production, being himself a artist direct who seeks to understand the challenges and opportunities that permeate this ever-changing musical universe.
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Loughran, Sandra. "An Artist among Young Artists: A Lesson for Teachers." Childhood Education 77, no. 4 (June 2001): 204–8. http://dx.doi.org/10.1080/00094056.2001.10522165.
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Holland, Jacob, and Tebo Motlhaping. "Artist Resale Right: Should Botswana Codify?" Journal of Intellectual Property and Information Technology Law (JIPIT) 2, no. 1 (September 15, 2022): 117–43. http://dx.doi.org/10.52907/jipit.v2i1.207.
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The Artist Resale Right (ARR) entitles a visual artist to a certain percentage of income generated from the resale of their artwork in the secondary market. Historically, resale royalty initiatives were motivated by a romantic notion that artists are so poor and in such a weak bargaining position that they deserve special legal protection. Arguments have since advanced from the notion of the ’starving artist’ to now citing the copyright protection deficiency that exists between the protection of multiple copy artists and visual artists. There has been advocacy from artists and politicians albeit not in collective voices for Botswana to codify ARR. This paper evaluates whether Botswana should provide for ARR in its laws and further guides lawmakers in considering such legislation. Specifically, this paper points out that many countries that have codified ARR have not implemented it. It attributes the lack of or delayed implementation of ARR to the information deficit, otherwise referred to as the asymmetry problem, that pervades the ARR practice. This asymmetry problem denies policymakers and other stakeholders a chance to establish the efficiency of ARR. The majority of arguments surveyed in this paper are at loggerheads, with each side raising strong valid points. This paper notes that the insignificant size of the Botswana art market is likely to eclipse the potential benefits promised by ARR. However, the authors conclude that Botswana should codify ARR based on the notion of redressing the copyright protection deficiency faced by visual artists as compared to other categories of copyright owners.
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Spasic, Vanja. "The status of opera artist at the national theatre in belgrade from 1970 to 1980." Muzikologija, no. 24 (2018): 131–49. http://dx.doi.org/10.2298/muz1824131s.
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This article deals with the status of the opera artist in the National Theatre in Belgrade in the 1970s. The status of an opera artist is analysed from two, relatively independent standpoints. The first level includes the artist?s position as an employed person in the institution, and the other - his social position at the final stage of the self-management socialism, which was the ideological and organisational framework of the Yugoslav cultural policy in the aforementioned period. The main idea of this article is to utilize the approaches of various sciences - sociology of art, cultural policy, musicology - in order to investigate those aspects that determine the status of artists. The initial research question was concerned with discovering how the status of opera artists in the Theatre was determined. The answer to this question required an insight into artistic work within the Theatre, which was reconstructed on the basis of the available archival material, as well as the artists? positioning in society, which was achieved by looking at the discourses about an artist from the eighth decade of the 20th century. The fundamental literature for this article was The White Book (Bela knjiga), which was issued in 1970 according to the decision of the Art Council of the National Theatre (Opera and Ballet); its purpose was to define the need for reform at the Opera and Ballet. The goal of this article is to point to different interpretations of the status of the artist in the observed period of self-management in the field of culture.
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Balaišytė, Lina. "Dailininkas XVIII amžiuje: karjeros galimybės." Lietuvos Didžioji Kunigaikštystė Luomas. Pašaukimas. Užsiėmimas, T. 5 (November 14, 2019): 229–53. http://dx.doi.org/10.33918/23516968-005011.
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THE ARTIST IN THE EIGHTEENTH CENTURY: CAREER OPPORTUNITIES The article is dedicated to discussion about the opportunities artists had in the eighteenth-century Grand Duchy of Lithuania, what factors were defining artist’s career and his valuation and how it changed along with social and cultural shifts in the country. Historical sources retain names of around 700 artists that worked in the eighteenth-century Grand Duchy of Lithuania. The artists belonged to a peculiar inter-estate stratum with significant differences in education, social and economic situation. Majority of artists lived and worked in towns, with smaller part working in the manors of noblemen under continuous service or temporary contracts, and also there was a small number of artist friars who did jobs in various convents of the country. Social and economic situation of artists in towns was similar to that of craftsmen, yet artists working in the manors of aristocrats usually had status of the middle-rank manor officials. Still, eighteenth-century artists were able to achieve higher levels of career than most of craftsmen because of the rank of their patrons. The work of artists was in demand mostly in higher levels of society and that determined better pay, sponsoring of studies and other kind of encouragement. Career opportunities for artists were usually defined by their reputation and education. The top level of the career was occupied by the status of royal court artist, which was a guarantee of high qualification. Noblemen of the Grand Duchy of Lithuania and Church hierarchy, when trying to realize important projects sought to engage the royal masters. Artists that studied abroad were also in demand. Noblemen of the Grand Duchy of Lithuania, because of the deficit of good artists, tried to keep those artists that worked long-term in their manors. Career of a court artist guaranteed steady payment and legal protection, however artists not always desired long-term service because of the significant limitations on their life and work. Difficulties in searching for a decent master encouraged noblemen to keep artists in their manors while teaching arts to local kids. The need in arts for vocation or special gifts is demonstrated by the fact that only a small part of children selected by the noblemen were able to learn painting. Apart from the ties to influential customers, to the career of an artist were important links to requested architects, also familial links to the ruling elites of towns and important officials of the courts. In the second half of the eighteenth century, especially at the end of the century, attitude towards artistic occupation has incurred significant changes. Social status of famous artists, large compensations and ennoblement affected attitudes towards arts among both the society and the artists, and promoted its prestige. Rise of prestige of the profession was aided by the fact that society started appreciating more of the local artists (artists-fellow countrymen). They have begun to be mentioned in various contexts among the most deserving of the nation. Keywords: artist, eighteenth century, the Grand Duchy of Lithuania.
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Tayler, Felicity. "Artists’ publications, artist-run centres and alternative distribution in Canada." Art Libraries Journal 30, no. 1 (2005): 29–36. http://dx.doi.org/10.1017/s0307472200013821.
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At the Tiré à part conference held in Quebec city in October 2003, speakers from artist-run centres from across Canada discussed 30 years of experience in publishing. Themes such as audience, production, funding, professionalisation and distribution encouraged the identification and exploration of current issues. These are put in context here by a general overview of the development of the genre as well as a short history of production by artist-run centres such as Art Metropole, Artspeak, Artexte and the Bookmobile project.
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YARMATS, А. "PROFESSION OF A COURTROOM ARTIST." Vestnik of Polotsk State University Part D Economic and legal sciences, no. 1 (May 6, 2024): 87–89. http://dx.doi.org/10.52928/2070-1632-2024-66-1-87-89.
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The article talks about one of the rare professions – the profession of a forensic artist, which, for a number of objective reasons, today is on the verge of extinction. Based on a comparative analysis of two related professions – forensic artist and journalist – some characteristic features of the profession of forensic artist have been identified. Also, the most famous currently existing court artists describe the specifics of working in court. Judicial sketches, as an institution that is becoming a thing of the past, still continue to exist and interest certain, albeit narrow, circles: researchers, collectors, film directors, writers, museum workers, etc.
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Wilson, Amanda. "Multistable Perception of Art-Science Imagery." Leonardo 45, no. 2 (April 2012): 156–64. http://dx.doi.org/10.1162/leon_a_00282.
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How do artists, scientists and artist-scientists view images, and how does their cultural background affect their interpretation? The author proposes that artist-scientists may exhibit cultural multistability, akin to the perceptual multistability associated with viewing visual illusions such as the Necker cube. After carrying out a survey, the author suggests that all individuals may exhibit cultural multistability in response to a challenging image. The author postulates a tendency of artist-scientists to use textural descriptions and discusses coming to see her own images in a new light.
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Ledo, Melissa-Ann, and Siibii Petawabano. "I Would Not Have Made That Leap: Art as the Vehicle to Tell Your Story, Connect and Build Relationships." LEARNing Landscapes 17, no. 1 (July 2, 2024): 15–26. http://dx.doi.org/10.36510/learnland.v17i1.1116.
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Our commentary includes an introduction to, and conversation sparked by, the Cree School Board’s Mikw Chiyâm, a secondary school program that engages in an artist-in-residence model. This is a dialogue between Melissa-Ann Pereira Ledo, settler queer educator/researcher/artist, and Siibii Petawabano, one of the first students who was part of the pilot program in the First Nation community of Mistissini in 2015. In 2021, after making “the leap” to become a professional artist-musician, Siibii returned to the program as one of the artists in residency themselves.
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Yeager, Raymond. "Artist as teacher and model." Visual Inquiry 8, no. 3 (December 1, 2019): 197–202. http://dx.doi.org/10.1386/vi_00004_1.
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Abstract Being an artist is often an enigma to art students. They need a model who will demonstrate a way to navigate the world as an artist. We are that model. As art educators, we can help demystify the practice of being an artist and help our students understand it by offering ourselves as models and mentors. In this undertaking, we should be open with students about our own odysseys as artists. Especially the many failures and hardships we faced and overcame to succeed. This modelling of art practice is a form of ‘lending consciousness'. Developed by Russian psychologist Lev Vygotsky, this concept asserts the idea that development is a social or communal process as well as a pedagogical one. By creating a learning environment where we model, as well as instruct, we alter the traditional role we play in the classroom. When our teaching and art-making become intertwined, the students benefit greatly from a more engaged instructor, and it is more likely that they will see themselves as artists-in-training.
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Hussein Abdul Rahman, Mahmmoud. "The role of Iraqi nature in the style of the artist Ayath Abdul Rahman Ameen." Al-Academy, no. 107 (March 15, 2023): 303–16. http://dx.doi.org/10.35560/jcofarts107/303-316.
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This research aims to clarify the role of Iraqi nature in the style of the artist Ayath Al-Doori. Through it, the spotlight was shed on the aesthetic of Iraqi nature, its importance and its relationship to art, and its pioneering role in the style of the Doori artist. The research included two axes: the theoretical axis and the applied axis. The first theoretical axis deals with two topics: The first topic: the aesthetic of Iraqi nature as part of the life and methods of Iraqi artists from ancient times until today, including the periodic artist. The second topic: the league artist touched on the private life of the league artist. As for the second (applied) axis, it includes the research community, the research sample models, the research tool, the research method and the analysis of the research sample models. Then this study ends with the result and then the sources.
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Scherbakova, O. O. "Principles of the pedagogical system of master of the realistic painting and graphic arts. artist-painter of battlepieces - N.S. Samokisha." Educational Dimension 26 (December 14, 2009): 405–11. http://dx.doi.org/10.31812/educdim.7054.
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"Principles of the pedagogical system of master of the realistic painting and graphic arts. artist-painter of battlepieces - N.S. Samokisha" is examined question about the features of artistic-pedagogical activity of the known Ukrainian artist of large and scalene talent Mickolaja Se- menovicha Samokisha, individually his innovative elucidative measures and methods on teaching of artists- painters of battlepieces.
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Macfarlane, Siân. "Finding Lily F. Whaite: Exploring Victorian Women Artists’ Experiences through Practice-Led Research." Collections: A Journal for Museum and Archives Professionals 14, no. 3 (September 2018): 383–402. http://dx.doi.org/10.1177/155019061801400312.
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Henry Clarence Whaite (1828-1912) was an English artist, drawn to North Wales by his desire to paint the landscape, becoming part of a burgeoning arts scene based around Betws-y-Coed. Lily F. Whaite (1876-1959), his daughter, was an artist in her own right and one of the founding members of the first women's arts group in Wales, the Gwynedd Ladies’ Arts Society. The archive of H. Clarence and Lily F. Whaite, located at the National Library of Wales, is extensive in nature and includes a number of photographs, sketches, personal papers, and, crucially, personal letters among father, daughter, and Jane Alice Whaite (1836-1906), Lily's mother. Of particular interest for this examination are Lily Whaite's letters, spanning her preteens until her 30s, which pay heed to the life of a female artist in Wales. The letters (and the wider archive) form an impression of the life of a woman artist active in both local and national artist circles, her experiences living in Wales and other parts of the United Kingdom, and her relationships with family and other artists, and in this regard, the archive represents a key uncovering. In this article, I explore the opportunities presented by existing archival resources related to established and renowned men to shed light on underrepresented voices: those of Victorian women artists, including Lily F. Whaite.