Journal articles on the topic 'Artists Psychology Case studies'
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Pąchalska, Maria. "NEUROPSYCHOLOGY OF CREATIVITY: A MICROGENETIC APPROACH." Acta Neuropsychologica 20, no. 1 (February 23, 2022): 87–114. http://dx.doi.org/10.5604/01.3001.0015.8161.
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The neuropsychology of creativity is recently understood as a subdiscipline developing on the borderline of being a: (1) medical neuroscience - using clinical and experimental neuroanatomical, neurophysiological, neurobiological, neurosurgical, neurological, neuropsychiatric methods and approaches and (2) social neuroscience - using social psychology and neuropsychology, social linguistics and neurocultural studies to help disabled people. The subject of research into the neuropsychology of creativity is the relationship between creativity and the functioning of the brain (structures and neuronal connections) and the self using the individual, social and cultural mind and modelling these behaviors in relation to the biological organism and the social and cultural environment itself. Neuropsychological research of creativity is directed mainly to discover the brain mechanisms of creativity, to form the theoretical models, to elaborate the methods of diagnosis and therapy of artists with brain damage. A promising model that allows for a better understanding of the creation process, and therefore one offering better assistance to individuals who have never developed or have lost the ability to create due to brain damage, is the microgenetic approach that will be discussed in this article. To introduce the reader to these issues, a case study of an artist with brain damage is presented. It illustrates the importance of performing a syndrome analysis, supported by the neurophysiological studies (neuroimaging studies of the brain, quantitative electroencephalography (qEEG), event-related potentials (ERPs) and sLorette tomography) with the use of neuromarkers to avoid a false diagnosis. It also shows the possibilities of art therapy in the process of rebuilding the creative abilities lost as a result of brain damage, and thus the rebuilding of one's individual, social and cultural Self. However, something that is also important for artists, selected works, especially the most characteristic and significant ones, are also achieving critical recognition. It even happens that they become a part of the world's cultural heritage, are displayed at various exhibitions and are even bought to be hung in the collections of galleries acrosss the world, like in the case of the artist presented in these paper.
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Rostan, Susan M. "In the Spirit of Howard E. Gruber's Gift: Case Studies of Two Young Artists' Evolving Systems." Creativity Research Journal 15, no. 1 (January 2003): 45–60. http://dx.doi.org/10.1207/s15326934crj1501_6.
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Junge, Maxine. "An Inquiry into Women and Creativity Including Two Case Studies of the Artists Frida Kahlo and Diane Arbus." Art Therapy 5, no. 3 (December 1988): 79–93. http://dx.doi.org/10.1080/07421656.1988.10758847.
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Lo, Jacqueline. "‘Why should we care?’: Some thoughts on cosmopolitan hauntings." Memory Studies 6, no. 3 (June 28, 2013): 345–58. http://dx.doi.org/10.1177/1750698013482860.
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This essay deploys the concept of cosmopolitan haunting to explore entangled relationships with the past, the role of minoritarian and ethnicized subjects of history and the emergence of horizontal post-national solidarities. I focus on two commemorative sites or practices that challenge the limits of transnational memory and its relationship with citizenship. The first is the story of William Cooper, an Aboriginal activist whose critique of the Nazi pogrom has been recognized by a number of commemorative events in Israel, and the second is a performative ritual enacted by migrant artists to honour Australia’s early Japanese history. The case studies demonstrate the affective contaminations that provoke not just feeling but also actions that both surpass but then get caught up again within the pressures of the nation state.
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Brisman, Shira. "The Madness of Hugo van der Goes: The Troubled Search for Origins in Early Netherlandish Painting." Journal of Medieval and Early Modern Studies 51, no. 2 (May 1, 2021): 321–65. http://dx.doi.org/10.1215/10829636-8929080.
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The extant works of Hugo van der Goes frustrated attempts among early historians of Netherlandish painting to organize the artist's career according to a chronology. The survival of a biographical document attesting to his madness additionally troubled the expectation of artistic progression. Goes earned the reputation of the first modern artist whose genius was connected to his aberrant psychology. This essay critically examines the impulse in art history toward temporal sequencing, arguing that such a practice is most profitably applied in the case of Goes not to his oeuvre as a whole but to a study of his process within an individual work. The alterations over time to the surface of The Fall of Man, which has often (but not unanimously) been deemed the artist's “first work,” afford consideration of how Goes thought about revision and how historians of early Netherlandish painting might engage disciplinary change by rethinking the impulse toward prioritization.
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Dubois, Sébastien, and Pierre François. "Introducing Aesthetics Into Status Analysis: The Case of French Contemporary Poetry." American Behavioral Scientist 65, no. 1 (November 22, 2018): 44–58. http://dx.doi.org/10.1177/0002764218813703.
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The consecration of artists is a fundamental issue in the study of artistic fields. Status theory proposes that consecration (or “status”) is constructed through associations between actors, leading the actors to choose partners whose status is comparable to theirs. This theory, widely used in the study of artistic consecration, tends to undersocialize actors as it only considers their relative position in the status order. In particular, it hypothesizes that when two actors associate, they do so on the basis of their relative position in their respective areas of reference. Yet status theory can be accused of ignoring the aesthetic dimension of the works produced. In other words, it overlooks what makes art worlds distinct from other fields of production. The aim of this article is to complete this hypothesis by showing how aesthetic affinities can contribute to pairing choices (between a publisher and a poet, in particular), and how these aesthetic affinities can play a determining role in unequal artistic consecration.
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O’Connor, Alison. "The work hurts." Journal of Applied Arts & Health 00, no. 00 (March 17, 2022): 1–14. http://dx.doi.org/10.1386/jaah_00096_1.
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This study aimed to explore the emotional impact on arts practitioners of working in health, social care and participatory settings and how supervision, or lack of, affects artists’ well-being. Interpretative phenomenological analysis (IPA) was chosen to explore the lived experiences of artists working in this field. Semi-structured interviews were conducted with five artists working across the arts and health spectrum, in a range of settings including children’s hospitals, hospices, prisons, older adults and rehabilitation wards. These interviews were transcribed verbatim and analysed using IPA. Four super-ordinate themes emerged from the analysis: this work as a calling; the psychological impact of the work; managing the impact through supervision and support; sustaining the professional and the personal self.
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Yastrubetska, H. I., and T. P. Levchuk. "Artist’s Psychophysiology in Disposition to Style (Case Study of Lesia Ukrainka’s Biography Materials)." Anthropological Measurements of Philosophical Research, no. 20 (December 28, 2021): 16–27. http://dx.doi.org/10.15802/ampr.v0i20.249502.
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Purpose of the study is to shed light on the role of psychophysiology in the creative process, namely, the style corrections connected with pathological changes in the artist’s organism, deviating from empirical-descriptive methods. Theoretical basis of the study implies the interpretation of the notions style and disease not in their narrow professional limitation but from the standpoint of expanding the parameters of these concepts to philosophical dimensions. Based on the principle of analogy, the research findings prove that non-mimetic creative process ("pure" action) manifests itself exclusively in connection with a human from a bodily viewpoint through anthropological mimesis, which can program the propensity to certain capabilities of the individual organism (both psycho-physiological and in its creative and stylistic manifestations). C. G. Jung was the first who pointed to the productivity of this method in his work "Theoretical Reflections on the Nature of the Psyche". The creativity phenomenon (and its most specific feature – style) reflects not only "pure" psychology and the intellectual and spiritual component but also its relation to the artist as a physical being. It, outside its belonging to and being conditioned by transcendent factors, includes a quantitative aspect related to the moment of intensity. The disease (quantitative-intensive indicator) acts to some extent as a stimulator of the production/change of aesthetic enzyme ("The Obsessed" by Lesia Ukrainka). In this context, the dialectic method is also effective because the subject of study cannot be comprehensively argued using naturalistic approaches only and requires (according to A. Losev) a semantic explanation too. The essence of it is the logic of contradictions. In this case, the antinomy of matter-spirit plays a conceptual role in the projection on the plane of word-formation. Originality of the research findings is in the expansion of the causal relationship range of the creative process, namely the inclusion of the factor of psycho-physiological pathology into the system artist-work. This factor performs important stylistic functions. Conclusions. In contrast to scientific studies, where 1) style is analyzed separately (mostly in terms of text landscape description) and 2) the figure of the artist (mainly – in the parameters of empiricism, rarely – in psychoanalytic perspective), this study argues the need to correlate these issues, taking them beyond descriptiveness to avoid schematics and one-dimensionality.
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Pąchalska, Maria. "Lurian Approach and Neuropsychology of Creativity." Lurian Journal 1, no. 1 (July 16, 2020): 77–108. http://dx.doi.org/10.15826/lurian.2020.1.1.7.
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Background. Alexander Romanovich Luria (1902–1977) is a widely recognized authority, attributed with the birth and development of neuropsychology. Reading the list of Luria’s publications makes us aware of the wide range of his interests: from the brain location of mental functions, through methods of rehabilitation and education, cognitive processing, issues of language, intellectual development or the impact of culture on human development, to intercultural research, and consequently to the neuropsychology of creativity. The purpose of this article is to show the link between Luria’s approach and the neuropsychology of creativity, and to demonstrate that a process thinking, taking into account brain/mind state, offers a new way of conceptualizing different approaches to creativity, which can be a step toward their unification, bringing into relation the continuum of passage in nature to a transition from repetition to innovation to genius. Objective. The aim of the present paper is to present the brain mechanisms of creativity. It discusses the neuropsychology of creativity as a subdiscipline developing on the borderline of: (1) medical neuroscience — using clinical and experimental neuroanatomical, neurophysiological, neurobiological, neurosurgical, neurological, neuropsychiatric and (2) social neuroscience — using social psychology and neuropsychology, social linguistics and neurocultural studies to help disabled people. Special focus is placed on the functioning of artists with various forms of brain damage. The relationships between brain damage and the quality of creation are also discussed. In addition, a review of opinions of various authors from around the world on the relationship of the healthy and the damaged brain with creativity is presented in the paper. Case study. Described also are ways to avoid pitfalls in the interpretation of works of art taking into account Luria’s syndrom analysis. While studying the neurological and neuropsychiatric basis of the creativity of people with various brain injuries, one should take into account the possibility of the co-occurrence of syndromes as well as the overlapping of symptoms. The paper presents a case history of the illness of an artist that illustrates the importance of performing a syndrome analysis based on the Lurian approach. It also indicates the significance of supporting any neuropsychological assessment with the use of neuromarkers to avoid arriving at a false diagnosis. In the case of the patient described neurophysiological studies (neuroimaging studies of the brain, quantitative electroencephalography (qEEG), event-related potentials (ERPs) and standardized Low Resolution Electromagnetic Tomography (sLORETA) have proved to be very useful in the confirmation of his neuropsychological and neuropsychiatric diagnosis. Conclusions. The paper has presented data confirming the importance of Luria’s approach in the development of the neuropsychology of creativity. It was also an attempt to explain why we create, and what goes on in our bodies and minds when we begin to explore creative possibilities. Art in all of its manifestations (visual art, music, literature, dance, theater, and more) is an important feature of human societies in both norm and pathology, and therefore deserves further study.
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Aghapour, Andrew Ali, Samuel Gates, and Michelle Robinson. "Chitlins and Dry Bones: A Conversation About the N-Word in Stand-Up Comedy." Studies in American Humor 8, no. 2 (September 1, 2022): 252–74. http://dx.doi.org/10.5325/studamerhumor.8.2.0252.
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ABSTRACT This conversation addresses the social meanings and aesthetic role of the N-word in stand-up comedy, where its power, utility, and relation to Blackness are hashed out in performances and in dialogues among artists. We turn our attention to stand-up comedy as a vital cultural space for deconstructing and repurposing the N-word. We discuss how the stand-up comedian, as a sociopolitical commentator who subverts audiences’ expectations and calibrates sets through ongoing exchanges with the audiences, uses humor to wrestle with discomfort surrounding the N-word. Our dialogue focuses on the work of Richard Pryor, Chris Rock, Dave Chappelle, Wanda Sykes, and Sam Jay, with some consideration of Louis C. K., George Carlin, and Hasan Minhaj. We make the case that to discuss the N-word in stand-up comedy is to engage with public understandings of Blackness and humanity.
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WAINWRIGHT, STEVEN P. "Embodied vulnerability in the art of J. M. W. Turner: representations of ageing in Romantic painting." Ageing and Society 24, no. 4 (July 2004): 603–16. http://dx.doi.org/10.1017/s0144686x04001990.
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Narratives of ageing are an important theme in both medical sociology and the sociology of the body. Research on representations of the ageing body typically draws upon such subjects as the paintings of Rembrandt or Victorian literature. In this paper, however, the aim is to demonstrate that some of J. M. W. Turner's pictures contain insightful narratives on ageing, the vulnerability of the body and the nature of our shared humanity. Turner (1775–1851) is widely regarded as Britain's greatest painter and one of the world's great artists. I contend that the central principle of Turner's Romantic art is the arousal of sensation. Although Turner is generally revered as a painter of landscape rather than ‘the body’, the paper maintains that many of Turner's paintings can be read as studies in the vulnerability of the body. It will be shown, for example, that many of Turner's pictures are wonderfully evocative ‘visual poems’ on the universal human experiences of loss, decline, ‘the fallacies of hope’, grief, ageing and death. This paper is, therefore, a cultural case study of ‘the decline narrative’ of ageing.
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Speter, Tova. "Chains of art offer connection and care." Journal of Applied Arts & Health 12, no. 3 (December 1, 2021): 319–26. http://dx.doi.org/10.1386/jaah_00085_1.
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Art Therapist Tova Speter shares a sample from Translations: connected art reflecting empathy (c.a.r.e.), a creative example of how engagement in a collaborative art experience can help people feel connected despite being physically isolated. This community art experience was launched in response to the isolating effects of the COVID-19 global pandemic. Over 100 artists participated in nineteen chains of six linked artistic expressions translating the words of the community through art. The six links in each chain offered a creative way to connect, which offset the 6 feet of physical distance we were advised to keep from each other in order to care for each other. This project highlights how art can hold and communicate intention and feeling across modalities as it offers connection and inspiration to a wide audience.
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Raharjo, Rio. "PERSEPSI SENIMAN KRIYA YOGYAKARTA TERHADAP KARYA MEBEL GAYA VINTAGE (STUDI KASUS: JAKARTA VINTAGE)." Jurnal Kreatif : Desain Produk Industri dan Arsitektur 4, no. 1 (October 8, 2020): 12. http://dx.doi.org/10.46964/jkdpia.v4i1.84.
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AbstrakPersepsi merupakan istilah yang erat kaitannya dengan psikologi dan neurologi, yang pada hakikatnya mencoba untuk mengetahui penerimaan informasi melalui otak dan memahami bentuk dan makna pada apa yang diinderai, salah satunya karya seni. Namun, dalam pendekatan sosiologi, pemahaman sesorang terhadap bentuk dan makna tersebut, dapat dibentuk melalui pembatinan atas nilai-nilai sosial-budaya di mana seseorang itu berasal (habitus). Melalui konsep habitus ini untuk mengetahui apa makna yang muncul pada karya mebel tersebut dan bagaimana makna tersebut dapat muncul dengan studi kasus pada beberapa karya dari Jakarta Vintage. Karya Jakarta vintage yang hadir dengan konsep nostalgia dianggap sebagai pembeda di antara konsep-konsep pada arus utama.Sebagai temuannya, para seniman kriya memahami bahwa makna yang muncul pada tidaklah murni sebagai makna yang utuh.
AbstrakPerception is a term close to relation with psychology and neurology, which in naturally try to acceptance know information through the brain and understanding form and meaning what on sensed, one of them is art. But, In the sociology approachment, someone understanding of the forms and meanings, can be formed through pembatinan on social values and culture where someone is coming (habitus). Through this concept to know what is appearing on the furniture works and how that meaning can arise with case studies on some of the works of Jakarta Vintage. The work Jakarta vintage that comes with the concept of nostalgia is considered as a differentiator between the concepts in the mainstream. As findings, craft artists understand that the meaning appears on it is not pure as meaningintact
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Balevičiūtė, Ramunė, and Agnė Jurgaitytė-Avižinienė. "Withdrawal from the City: Searching For the Source of Valentinas Masalskis’s Creative Work." Pamiętnik Teatralny 71, no. 1 (March 18, 2022): 33–50. http://dx.doi.org/10.36744/pt.837.
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In psychology of creativity, there has been a growing need to explore not only the individual world of the artist, but also the broader context of creative work, such as the influence of the environment on creativity. By combining the methods and insights of theater studies and psychology, this article raises the question of the impact of urban and non-urban environment on the theater artist and explores the phenomenon of “withdrawals” of Lithuanian actor, director, and pedagogue Valentinas Masalskis. The article is based on qualitative research: case study analysis, with in-depth interviews as a method of data collection. The research resulted in selection of four meta-themes that emerged from the interviewing material: “city is bustle,” “to withdraw in order to come back,” “I am no one without others,” “beyond aesthetics,” with the theme of withdrawal as the essential axis. The analysis of these meta-themes in phenomenological perspective revealed how withdrawals help Masalskis to realize his vision of the theater. For Masalskis, withdrawals are the way not only to produce a new performance, but also to go further—to deepen anthropological reflection, to develop pedagogical methods, to discover unusual perspectives, to strengthen ethical principles, and, finally, to search for the source of creativity in a calm and focused manner.
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Caban-Piaskowska, Katarzyna. "PROMOTING BRAND - CASE STUDIES." sj-economics scientific journal 22, no. 3 (October 31, 2016): 77–89. http://dx.doi.org/10.58246/sjeconomics.v22i3.312.
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The aim of the article is to identify how young artists - designers promote their work. Create producer, and in these cases their name, may in very many ways. Promoting the brand is usually the basis for the success of many designers. Artists - designers make very different products. Firstly, they are, of course, the clothes, but they can also be shoes, handbags other additives notions, moreover, jewelery, prints and prints on materials and textiles. All deal with the students and graduates of the Academy of Fine Arts in Lodz, the textile and garment.
The article described three selected examples of promoting the brands of young artists. Described the designers use of social media, promote their products in a television program, as well as take part in prestigious exhibitions. These activities are aimed at increasing awareness of their names, creativity and products. As shown, the three selected examples, the road to recognition may vary.
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Singh Gandi, Pankaj. "A Semiotical Case Study of the Unconscious in the Works of Salvador Dali." ECS Transactions 107, no. 1 (April 24, 2022): 4713–22. http://dx.doi.org/10.1149/10701.4713ecst.
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This research paper attempts to analyse the contents of the unconscious (psyche) in the works of the Surrealist artist, Salvador Dali, and also to provide for an interpretation of the same. In order to establish a relation between psychology and art, Jungian symbolism is studied and to avoid any subjective approach to analytical interpretation, Semiotics of Charles S. Peirce is applied with respect to the whole work of art as a semiotic sign.
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Ruth, Nicolas. "“They don’t really care…”: Effects of music with prosocial content and corresponding media coverage on prosocial behavior." Musicae Scientiae 22, no. 3 (June 20, 2017): 415–33. http://dx.doi.org/10.1177/1029864917716735.
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Many musicians deliver prosocial messages in their music and engage in charity events, but we know very little about how our reception of this music affects us. Following the General Learning Model by Buckley and Anderson, one possible explanation could be that the music affects us because we know about the engagement and the intentions of the musicians. In most cases this knowledge is received through media coverage. Two studies were conducted to investigate what influence media coverage about music with prosocial content has on participants’ appraisal of the music, and the effect of the music on participants. The first study ( N = 145) altered the valence of the media coverage about a semi-fictional music charity project in a 3 × 1 between-subjects design. The second study ( N = 157) used music by an unknown artist that had either prosocial or comparable neutral lyrics alongside positive or neutral media coverage about the artist in a 2 × 2 between-subjects design. Both studies tested the extent to which participants’ appraisal of the music they listened to, their empathy and associated prosocial behavior or prosocial behavioral intentions differed between experimental groups. Results of Study 1 indicate that media coverage influences our appraisal as negative media coverage of the charity project was found to negatively affect participants’ appraisal of that project and Study 2 yielded that neutral media coverage of the unknown artist led to the most positive appraisal of the artist’s music.
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Glinkowski, Paul. "Artists and policy-making: the English case." International Journal of Cultural Policy 18, no. 2 (March 2012): 168–84. http://dx.doi.org/10.1080/10286632.2011.577213.
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Torok, Ana. "Regarding Artists Regarding Labor." Media-N 16, no. 1 (March 19, 2020): 24–44. http://dx.doi.org/10.21900/j.median.v16i1.224.
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In the wake of the Occupy movement and broader discussions concerning the state of the global working class, a number of contemporary artists have demonstrated a renewed interest in exploring the politics of labor through the form, content, and distribution of their work. The case studies taken up here reveal and interrogate forms of human labor embedded within or affected by digital technology. By featuring the artists engaged in transactional relationships or performing the role of capitalist, these predominantly video-based artworks act as concrete reflections of a capitalist economic system. Foregrounding the system’s problematics through reenactment, these artworks tacitly implicate their creator as well as their viewer within a complex web of social relations. This article examines the shape and significance of artistic labor across these case studies and asks whether the very allowance for this form of recent cultural production might itself hold emancipatory potential.
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Almeida, Ana. "ARCHITECTURE, CERAMICS AND FRAMES. THREE CASE STUDIES IN THE WORK OF JORGE BARRADAS." ARTis ON, no. 2 (February 12, 2016): 88–99. http://dx.doi.org/10.37935/aion.v0i2.38.
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Throughout the history of the azulejo (a Portuguese form of tin-glazed ceramic tile), frames have played a decisive role in the articulation of this element with its architectural support. From the late 1940s onwards, Portuguese artists have felt the influence of the International Modern Movement, especially via the Brazilian model and its solutions for integrating azulejos within the new architectural forms. This movement translated into new buildings and equipments, promoting the interaction between architects and artists. Moreover, it led to the renovation of Portuguese ceramic coverings, prompted by the emergence of a new generation of artists strongly influenced by Jorge Barradas.The present article aims to examine three ceramic coverings by Jorge Barradas, focusing on their frames and their articulation with the architecture. The first azulejo covering is the so-called Atlântico Palace, the headquarters of a banking institution in Oporto (1950); the second is located at the Parish Church of Nossa Senhora de Fátima, in Parede, Cascais (1953); the third one is at the Lisbon’s Palace of Justice (1969).
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Vaughn, Michael Patrick. "Supermodel of the World: The Influence of Legitimacy on Genre and Creativity in Drag Music Videos." Social Psychology Quarterly 82, no. 4 (September 23, 2019): 431–52. http://dx.doi.org/10.1177/0190272519869314.
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Who gets to define what counts as art when a genre is in flux? In the present analysis, I find that legitimated artists may also be able to act as intermediaries, such as critics and gatekeepers. In doing so, these artists-as-intermediaries, under certain conditions, can shift the meaning of the genre as it transitions. Using the current transition of drag performance from scene-based to industry-based genre as a case, I present a multistage qualitative analysis of televised and digital drag performance. I report three key findings from this analysis: (1) some legitimated artists can become intermediaries when their genre is in transition, (2) these legitimated artists-as-intermediaries can influence genre expectations, and (3) legitimated artists-as-intermediaries’ influence on genre expectations can, in turn, influence the creative expression of other artists. Each of the three findings, however, has the effect of limiting creativity of the artist-as-intermediary and future artists within the industry-based genre.
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Whiting, Jason B. "Authors, Artists, and Social Constructionism: A Case Study of Narrative Supervision." American Journal of Family Therapy 35, no. 2 (February 27, 2007): 139–50. http://dx.doi.org/10.1080/01926180600698434.
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Hennekam, Sophie. "Dealing with multiple incompatible work-related identities: the case of artists." Personnel Review 46, no. 5 (August 7, 2017): 970–87. http://dx.doi.org/10.1108/pr-02-2016-0025.
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Purpose The purpose of this paper is to examine how artists deal with having multiple potentially incompatible work-related identities as a result of a career transition from making a living exclusively as artists to taking on additional work outside the creative industries. Design/methodology/approach In all, 40 semi-structured in-depth interviews were conducted by telephone with artists in the Netherlands. A grounded theory approach was used to analyze the findings. Findings Four different strategies for dealing with multiple potentially incompatible identities were identified: integration, accumulation, separation and dis-identification. The findings suggest that the informal social context, the support of rejection of important others, influenced the strategy adopted by the artists. Invalidation from the environment often leads to stress and separation or dis-identification strategies, while validation seems to lead to integration and accumulation strategies that are less psychologically straining. Practical implications The findings stress the importance of the external environment. While the workers had to deal with their own psychological stress and regret about not succeeding at working exclusively as artists, they also had to create a feasible story that allowed them to “sell” their transition to others. Originality/value Careers are becoming increasingly non-linear, and the number of workers who need to juggle multiple (potentially conflicting) work-related identities is rising. However, how workers deal with this has received only limited attention from researchers.
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Haeseler, Martha P. "Creativity and Madness: Psychological Studies of Art and Artists." Art Therapy 13, no. 4 (October 1996): 300–301. http://dx.doi.org/10.1080/07421656.1996.10759243.
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Chibnik, Michael, Rudi Colloredo-Mansfeld, Molly Lee, B. Lynne Milgram, Victoria Rovine, and Jim Weil. "Artists and Aesthetics: Case Studies of Creativity in the Ethnic Arts Market." Anthropology of Work Review 25, no. 1-2 (March 2004): 3–8. http://dx.doi.org/10.1525/awr.2004.25.1-2.3.
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Lloyd, Richard. "The Neighborhood in Cultural Production: Material and Symbolic Resources in the New Bohemia." City & Community 3, no. 4 (December 1, 2003): 343–72. http://dx.doi.org/10.1111/j.1535-6841.2004.00092.x.
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Drawing on an extended case study of the Chicago neighborhood Wicker Park, this article examines the role that neighborhood space plays in organizing the activities of young artists, showing how an urban district can serve as a factor in aesthetic production. The tendency of artists and fellow travelers to cluster in distinctive (usually older) urban neighborhoods is well known. While in recent decades many scholars have recognized that these creative congregations contribute to residential gentrification and other local patterns of increased capital investment, the benefits that such neighborhoods offer for aspirants in creative pursuits are generally assumed, not explained. I use the Wicker Park case to show how the contemporary artists' neighborhood provides both material and symbolic resources that facilitate creative activity, particularly in the early stages of a cultural producer's career. I further connect these observations to the production of culture as a commodity, showing how select neighborhoods fill quasi‐institutional roles in the flexible webs that characterize contemporary culture industries.
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Weintraub, Laural. "Vaudeville in American Art: Two Case Studies." Prospects 24 (October 1999): 339–75. http://dx.doi.org/10.1017/s0361233300000417.
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In 1891, the influential literary realist William Dean Howells stated that “the arts must become democratic” in order to have “the expression of America in art.” This vision of a democratic culture, though modified, continued to inspire American writers and artists well after the turn of the century. The idea of democracy in American culture remained an important touchstone for conservative as well as progressive-minded writers on art and literature even as modernism took hold in the second decade of the century. For James Oppenheim, for example, editor of the eclectic little magazine The Seven Arts, which published some of the most significant cultural criticism of the day, the role of democracy in American art was an unresolved yet still vital issue. “Our moderns slap democracy on the back,” he wrote in 1916, “but what are they giving it in art?” “Yes,” he goes on to state, “we have magazines that circulate in the millions: we have cities sown thick with theaters: we have ragtime and the movies.” These manifestations are signs of cultural democracy, he implies, albeit devoid of art.
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Yang, Meng-Che. "Case Studies in Early Colonial Period Education - Japanese Artists and Activities in Taiwan -." 아시아문화연구 17, no. ll (November 2009): 335–62. http://dx.doi.org/10.34252/acsri.2009.17..014.
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Scheflan-Katzav, Hadara. "Thou Shalt Tell Thy Daughter: Mothers Tell Daughters Their Holocaust Story—Three Case Studies of Contemporary Israeli Women Artists." Arts 11, no. 5 (September 22, 2022): 94. http://dx.doi.org/10.3390/arts11050094.
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The story of Israel and its raison d’être are suffused by memories of the Holocaust, which construct the self-definition and identity of the state. This article examines works by three contemporary Israeli women artists—Dvora Morag, Miri Nishri, and Bracha Ettinger—who subvert the traditional telling of history and enable rethinking of the past as the basis for the individual’s existence in the nation state. Through the works of these artists, official memory disintegrates into fragments of personal memories of the artists’ mothers, enabling a new moral, historical perspective. The reconstruction of history through stories that pass from mother to daughter contrasts sharply with Jewish tradition in which the historical story passes from father to son. The yearly Passover retelling of the Exodus admonishes “Thou shalt tell thy son on that day to say, ‘It is because of what the Lord did for me when I came out of Egypt’”. The two narratives, the Exodus from Egypt and the Holocaust, are told as stories of redemption of the Jewish people—from ruin to resurrection. The art examined here reassesses the past, while unraveling parallels between the stories from a female perspective that reflects a personal moral stance.
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Plaud, J. "Case studies in abnormal psychology." Journal of Behavior Therapy and Experimental Psychiatry 27, no. 1 (March 1996): 72. http://dx.doi.org/10.1016/0005-7916(96)88310-8.
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de Silva, P. "Case studies in abnormal psychology." Behaviour Research and Therapy 30, no. 4 (July 1992): 419. http://dx.doi.org/10.1016/0005-7967(92)90057-n.
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Williams, Ruth M., and o̊Lecturer in Psychology. "Case studies in abnormal psychology." Journal of Psychosomatic Research 36, no. 4 (May 1992): 404–5. http://dx.doi.org/10.1016/0022-3999(92)90079-h.
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Geraldine, Akerman. "Case studies in Forensic Psychology." Forensic Update 1, no. 132 (December 2019): 57–58. http://dx.doi.org/10.53841/bpsfu.2019.1.132.57.
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Caust, Josephine. "Sustainability of Artists in Precarious Times; How Arts Producers and Individual Artists Have Adapted during a Pandemic." Sustainability 13, no. 24 (December 8, 2021): 13561. http://dx.doi.org/10.3390/su132413561.
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Making a living as an artist, whatever the discipline, is challenging. In addition to skills and talents, artists need resilience, adaptability, creativity, and the ability to withstand endless setbacks and rejections. Most critically, they need an on-going, stable income. Several studies have demonstrated that the income of most artists is usually very low. To survive, artists often find other sources of income aside from their creative work. Ideally, they also need a place to work, the capacity to do their work and a sense of validation from others of their work. When your livelihood disappears over night because of a pandemic, how do you then sustain that creative work? Using multiple sources of data and a qualitative methodology, including case studies and interviews, this paper addresses the ways that artists and producers from different art forms have addressed these challenges in Australia. It is concluded that while the impact of the pandemic on artists’ lives has been considerable, some artists have been able to survive, adapt, and move forward.
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Simmons, Anne H. "FOMO case studies: loss, discovery and inspiration among relics." Art Libraries Journal 41, no. 2 (April 2016): 72–76. http://dx.doi.org/10.1017/alj.2016.3.
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In 2009, I was two years into my tenure as a museum employee, managing a collection of small exhibition brochures, pamphlets and gallery announcements at the National Gallery of Art Library. That summer, New York Times art critic Roberta Smith reported on a phenomenon I had also observed in my capacity as Reference Librarian for Vertical Files: the decline of the printed gallery post card. Smith's ArtsBeat blog post, ‘Gallery Card as Relic,’ is a breezy elegy surveying recent “final notice” cards mailed from commercial galleries that were “going green” by eliminating paper mailings. I, however, was feeling less light-hearted about the demise of what Smith describes as a “useful bit of art-world indicator…[and] an indispensable constant creatively deployed by artists, avidly cherished by the ephemera-obsessed and devotedly archived by museums.”
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Horiuchi, Shiro. "ARTISTS AGAINST GENTRIFICATION: COORDINATORS OF DIFFERENT PEOPLE IN AN INNER-CITY AREA OF OSAKA, JAPAN." International Journal of Asia Pacific Studies 18, no. 1 (January 25, 2022): 79–105. http://dx.doi.org/10.21315/ijaps2022.18.1.4.
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Gentrification, often characterised by an influx of new residents who displace established locals, has impacted cities across the world and is accelerated by the growth of global capital and the development of neoliberal governments. Artists can counter the process by using their art to promote justice and community development. This paper explores the influence of artists on the community of Baika-Shikanjima, an inner-city area of Osaka, where many creative individuals have aggregated for more than a decade. At present, the area seems to be untouched by gentrification. The findings of this field study indicate that most artists earn an income through other part-time jobs or by managing small businesses. Despite their meagre earnings, these artists live comfortably thanks to affordable housing, products, and services in the area. The artists exhibit or perform their work for other artists, tourists, and residents. The audience members or participants interact with each other during these performances. The study suggests that artists in this area counter the course of gentrification simply by pursuing their activities and rooting them in the community and daily life of the area. Furthermore, their activities seem to create public spaces through which marginalised groups and individuals are provided the opportunity to engage with other residents. The artists could be regarded as outsiders or authentic tourists who integrate into the local community. Although globalisation accelerates gentrification in many areas of Osaka city, this case study shows that a more sustainable inner-city development is possible if artists are involved in community life.
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Preda, Caterina. "The Role of Artists' Collectives in Producing State Socialist Art in 1950s Romania the Bottom-Up, Pragmatic Professionalization of State Commissions." ARTMargins 9, no. 3 (October 2020): 29–52. http://dx.doi.org/10.1162/artm_a_00271.
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This article analyzes the collective basis of the establishment of the Socialist Realist model of production for the fine arts in Romania in the early 1950s. It discusses the unstudied case of the “artists' collectives” (of production) together with other collective forms, such as the collective studios and the guiding commissions. This is an archive-based study of cultural institutionalism of socialist regimes, based on the analysis of under-explored archival sources such as those of the Romanian Artists' Union (UAP) or the Artistic Fund (FP). Focusing on two specific case studies, those of the artists' collectives “Progressive art” and “Th. Aman”, both founded in 1951, it provides more context to the establishment of the socialist model in Romania. The article finds the state assumed definition of art considered the artist as a simple executioner, and the “artists' collectives” participated in eradicating the individuality of the artist, one of the goals of the new socialist model.
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Malkin, Jeanette R., and Eckart Voigts. "Wrestling with Shylock." European Judaism 51, no. 2 (September 1, 2018): 175–85. http://dx.doi.org/10.3167/ej.2018.510224.
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Abstract How does Shakespeare’s ambivalent character Shylock affect British theatre artists of Jewish heritage today? Since the 1970s, stage adaptations of The Merchant by British Jewish directors and actors have struggled to glean an interpretation that would make The Merchant relevant or palatable for a post-Shoah generation. This article has a double focus: we discuss the difference between the adaptations of the older generation – Arnold Wesker’s character rewriting in The Merchant (1976) and Charles Marowitz’s deconstruction in Variations on the Merchant of Venice (1977) – and the contemporary revision in Julia Pascal’s 2008 The Shylock Play. Secondly, we focus on the reaction of contemporary Jewish theatre artists in Britain to the centrality of Shylock as the canonical figure of the Jew in Britain. We asked a number of contemporary British Jewish theatre artists – from Tom Stoppard to Samantha Ellis – about their personal relationship to Shylock and we present a digest of their responses.
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Garay, Urbi, Gwendoline Vielma, and Edward Villalobos. "Art as an investment alternative: the case of Argentina." Academia Revista Latinoamericana de Administración 30, no. 3 (August 7, 2017): 362–82. http://dx.doi.org/10.1108/arla-08-2016-0226.
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Purpose The purpose of this paper is to present the formulation of the first exhaustive price index for Argentinian (and other Latin American countries) visual artists using 5,069 works sold in auctions by 71 Argentinian artists during the years 1980-2014. Design/methodology/approach The authors estimated a regression of hedonic prices using the ordinary least squares method. When the regression was run and the results were analysed, the authors then estimated the annual price index of Argentinian artists’ work to then compare them with different financial and economic variables. Findings The average annual nominal arithmetic rate of return in dollars for Argentinian art during this period was 6.81 per cent, with a 29.11 per cent standard deviation. Argentinian art shows a low correlation with Argentinian and US companies’ shares and a slightly negative correlation with US bonds. This is the reason for artworks to be included in investors’ portfolios despite the relatively high volatility. Research limitations/implications Valuating works of art in Argentina can be explained by a series of their attributes. The benefits of art as an investment should be contrasted with factors including illiquidity and high transaction costs that are inherent when investing in works of art. Practical implications Argentinian artists’ works have higher prices when, ceteris paribus, they are dated; they are auctioned in either Christie’s, Sotheby’s, Galería Arroyo, Roldan & Cia, Meeting Art, or Naon & Cia; they are oil or acrylic paintings; they are larger in size – although the price increase is decreasing when the size of the painting increases; and when the artist dies before their work is auctioned. Originality/value This work presents the first rigorous price index of Argentinian artists’ works. Additionally, and as far as the authors have been able to observe, the time-period in this article is the longest that has been used in studies on art as an investment in emerging markets.
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Güss, C. Dominik, Ma Teresa Tuason, Noemi Göltenboth, and Anastasia Mironova. "Creativity Through the Eyes of Professional Artists in Cuba, Germany, and Russia." Journal of Cross-Cultural Psychology 49, no. 2 (September 14, 2017): 261–89. http://dx.doi.org/10.1177/0022022117730817.
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Creativity plays an important role in the advancement of all societies around the world, yet the role of cultural influences on creativity is still unclear. Following systems theory, activity theory, and ecocultural theory, semistructured interviews with 30 renowned artists (writers, composers, and visual artists) from Cuba, Germany, and Russia were conducted to explore the complexity of the creative process and potential cultural differences. All interviews were transcribed verbatim and analyzed using consensual qualitative research methodology. The following eight main domains resulted from the interviews: How I became an artist, What being an artist means to me, Creating as a cognitive process, Creating as an emotional process, Creating as a motivational process, Fostering factors of creativity, Hindering factors, and The role of culture in creating. Artists in the three countries similarly talked about creativity being a fluid process where ideas change, and elaborated on the role of intuition and the unconscious when creating art. Meaningful cross-cultural differences were seen among the artists of three cultural backgrounds in terms of attitudes about financial instability, in how they perceive themselves, in their art’s societal function, in the cognitive and in the emotional process of creating, and in terms of social connectedness. Results highlight (a) the complexity of the creative process going beyond cognitive factors and including motivational, emotional, and sociocultural factors, and (b) the cultural differences in the creative process. Results are beneficial for further developing a comprehensive theory of the creative process taking cultural differences into consideration.
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Post, Colin. "Preservation practices of new media artists." Journal of Documentation 73, no. 4 (July 10, 2017): 716–32. http://dx.doi.org/10.1108/jd-09-2016-0116.
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Purpose The purpose of this paper is to investigate the preservation practices of new media artists, in particular those working outside of the scope of major collecting institutions, examining how these artists preserve new media artworks in their custody. Design/methodology/approach The paper builds case studies of seven new media artists of differing practices and artistic approaches. For each case study, semi-structured interviews with the artists were conducted in conjunction with visits to the artists’ studios. Findings The study finds that new media artists face a number of shared preservation challenges and employ a range of preservation strategies, and that these challenges and strategies differ markedly from that of art museums and cultural heritage institutions. Research limitations/implications This study considers preservation practices for new media artists generally. Further research into specific communities of artistic practice could profitably build upon this overall framework. Practical implications The findings of this research pose a number of implications for art museums and cultural heritage institutions, suggesting new ways these institutions might consider supporting the preservation of new media artworks before works enter into institutional custody. Originality/value The literature on new media art preservation emphasizes the importance of working with artists early in the life cycle of digital artworks. This study advances this by investigating preservation from the perspective of new media artists, deepening the understanding of challenges and potential preservation strategies for these artworks prior to entering or outside of institutional custody.
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Milea, Ada. "The Actor in Search of Musical Forms. Case Studies." Studia Universitatis Babeş-Bolyai Dramatica 66, no. 2 (October 30, 2021): 187–210. http://dx.doi.org/10.24193/subbdrama.2021.2.13.
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"This article looks at the major differences in the reception of the sounds of a musical fragment, depending on the personal experience of each individual and his profession. The musicians relate to the sound universe guided by the constituent elements of the scores, and the actors look for connections between sounds, gestures, words, characters, and stage situations. They can approach music in other ways than musicians and remember the melodic lines or create accompaniments by making connections with the context in which they find themselves. In some examples that the article offers, the studied actors demonstrate that sound can become music even in the absence of the vocal or rhythmic qualities of the performers. Other examples refer to the way in which the personality and creativity of artists have a significant role in creating songs or the sound support they need. Keywords: music-theatre, performing arts, music, musical training "
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GERSTLE, C. ANDREW. "The culture of play: kabuki and the production of texts." Bulletin of the School of Oriental and African Studies 66, no. 3 (October 2003): 358–79. http://dx.doi.org/10.1017/s0041977x03000259.
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This article examines the role of performance (defined in its broadest sense) in Japanese literary culture, specifically the relationship between performance and the production of physical texts, both script and illustration. It postulates the thesis that performance has been an essential part of artistic creation even among highly literate artists/writers in the genres of poetry (waka, renga, haikai, kyōka), Nō and kabuki drama. A case is made that artists' salons (including professionals and amateurs) were an integral part of cultural life and that their activities were as important as the physical texts produced in response to such performances. The core of the article focuses on the Kabuki ‘culture of play’ in Osaka, through which actors, poets, artists and fans participated both in performances and in the production of texts such as books on actors (yakusha ehon), books on theatre (gekisho), surimono (privately-commissioned prints commemorating a poetry gathering), single-sheet actor prints, and actor critique books (yakusha hyōbanki).
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Flajsig, Maja, Nevena Škrbić Alempijević, and Josip Zanki. "Art in the Community." Ethnologia Fennica 48, no. 1 (November 10, 2021): 56–77. http://dx.doi.org/10.23991/ef.v48i1.101739.
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This article discusses the culture-making and place-making initiatives created at the intersection of ethnology and cultural anthropology, art and cultural politics. The focus is on the ways in which joint ethnological and artistic involvement can change the dynamics within the local community. As a case study the authors use the project Art in the Community: Redefining Heritage of the Association of Artists ‘Zemlja’ (Croatia, 2018 – 2020). The project was based on one of the most important episodes of socially and politically engaged artistic practices in Central Europe and Western Balkans: the legacy of the Association of Artists Zemlja (1929 – 1935), and naïve art and educational work of renowned painter Krsto Hegedušić. In the locality where they had worked and found inspiration – Hlebine – contemporary artists rethought their heritage and brought it to life through this project. The project was based on participatory approaches, artistic and community-empowering process that included local naïve artists from Hlebine and students of Visual Arts and Ethnology and Cultural Anthropology from Zagreb. The text analyses the potentials and challenges in working with different stakeholders on the region’s cultural scene who take part in the project in order to affirm, negotiate or redefine their culture-building strategies.
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Widmer, Gerhard. "Studying a creative act with computers: Music performance studies with automated discovery methods." Musicae Scientiae 9, no. 1 (March 2005): 11–30. http://dx.doi.org/10.1177/102986490500900101.
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The purpose of this article is to demonstrate how advanced computer methods may be able to provide new insights into a complex creative activity such as music performance. The context is an inter-disciplinary research project in which Artificial Intelligence (AI) methods are used to analyse patterns in performances by human artists. In asking how the computer can take us closer to an understanding of creativity in music performance, we identify two pertinent research strategies within our project: the use of machine learning algorithms that try to discover common performance principles and thus help separate the “rationally explainable” aspects of performance from the more genuinely “creative” ones, and the use of data mining methods that can discover, visualise and describe performance patterns that seem to be characteristic of the style of particular artists and thus may be more directly related to their individual creativity. Some preliminary results are briefly presented that are indicative of the kinds of discoveries these algorithms can make. Some general issues regarding (musical) creativity and its relation to Artificial Intelligence are also briefly discussed.
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Guth, Christine M. E., Patricia Fister, and Marsha Weidner. "Japanese Women Artists 1600-1900." Journal of Japanese Studies 18, no. 1 (1992): 222. http://dx.doi.org/10.2307/132722.
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Mar, Phillip, and Kay Anderson. "Urban Curating." Space and Culture 15, no. 4 (November 2012): 330–43. http://dx.doi.org/10.1177/1206331212460623.
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This article examines the modes of emergence of “the local” in particular collaborative art projects in suburban Sydney (Australia) as outflows of singular interfaces between artists, institutions, audiences, and administrators. We begin analytically with the circulations that variously draw on and craft notions of locality and community in two projects staged in western Sydney, both involving nonlocal artists collaborating with business entities and arts institutions. In each case, specific circulations worked to produce a differently spatialized interplay of artists’ processes, aesthetic objects, events, performances and dialogues. The article develops a working conception of “interspatiality” that draws on actor network and assemblage concepts to elicit how creative labor entangles people, places, communities, and ways of working and thinking.
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Saiyed, Abrar Ali, Anita Basalingappa, and Piyush Kumar Sinha. "Value Network in Heritage Walks: Case Studies of Ahmedabad City Walks." Journal of Heritage Management 1, no. 2 (December 2016): 191–204. http://dx.doi.org/10.1177/2455929616687897.
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Long heritage management related activities have been studied by sociologist, heritage management experts, anthropologists and architects and artists. Researchers felt importance of using management theories in heritage management research domain. This paper tries to focus on this call for research. It aims to study the value network in heritage walk organisations for creating shared value - a form of value that Porter and Kramer describe, in placing social and community needs before profit. It studies value network in three heritage walks organized by three organisations in Ahmedabad city in western part of India. It covers three cases studies of these walks that cover architecture, communities, craft, food and other elements of living and non-living heritage. This study is exploratory in nature. It shows the impact of these walks on various stakeholders under nine dimensions of value network framework.
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Leitão, Inês. "RETHINKING FRAMES IN CONTEMPORARY AZULEJO." ARTis ON, no. 2 (February 12, 2016): 100–108. http://dx.doi.org/10.37935/aion.v0i2.42.
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This essay’s primary objective is to rethink the use of frames in contemporary azulejo by presenting how artists have been approaching this subject, whether to rescind of frames or to use them. In order to achieve this goal we present six case studies, three of which focus on no framing as way to blend azulejo coverings in its urban environment, whereas the others demonstrate how the artists use frames in order to contemporarily reinterpret azulejo traditions.
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Damery, Shannon, and Elsa Mescoli. "Harnessing Visibility and Invisibility through Arts Practices: Ethnographic Case Studies with Migrant Performers in Belgium." Arts 8, no. 2 (April 4, 2019): 49. http://dx.doi.org/10.3390/arts8020049.
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This paper endeavors to understand the role of arts in migration-related issues by offering insights into the different ways in which artistic practices can be used by migrants and investigating migrants’ differing objectives in participating in the arts. Through the exploration of the initiatives of undocumented and refugee migrants involved in artistic groups in Belgium, this paper compares the motivations of the performers and concludes that art can operate as an empowering tool for migrants as it constitutes a space for agency, notwithstanding the specific scope of which it is contextually charged. It allows migrants to render themselves visible or invisible, depending on their contrasting motivations. The creative productions of the first group, composed by members of “La Voix des sans papiers de Liège”, a collective of undocumented migrants, corresponds to an explicit effort of political engagement in the local context. The other examples are of undocumented and refugee artists joining musical groups with no specific aim of promoting the cause of undocumented and refugee persons. The choice to be involved in such groups highlights their desire to be, in some ways, invisible and anonymous while participating in this collective of artists. Through these examples, we see that art offers opportunities for migrants to actively participate in the socio-cultural and political environment in which they reside and to claim various forms of official and unofficial belonging whether it occurs through visibility or invisibility.