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Journal articles on the topic 'Artists'
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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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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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Feyerabend, Paul. "Theoreticians, Artists and Artisans." Leonardo 29, no. 1 (1996): 23. http://dx.doi.org/10.2307/1576272.
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Campbell, Erin J. "Artisans, Artists and Intellectuals." Art History 23, no. 4 (November 2000): 622–26. http://dx.doi.org/10.1111/1467-8365.00229.
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Primel, Casey, Anupama Rao, and Susanna Ferguson. "On Artists and Artisans." Comparative Studies of South Asia, Africa and the Middle East 35, no. 3 (2015): 486–91. http://dx.doi.org/10.1215/1089201x-3426337.
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Braden, L. E. A. "Networks Created Within Exhibition: The Curators’ Effect on Historical Recognition." American Behavioral Scientist 65, no. 1 (October 15, 2018): 25–43. http://dx.doi.org/10.1177/0002764218800145.
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This research examines artist networks created by shared museum exhibition. While previous research on artistic careers assesses self-cultivated networks, historical recognition may be further influenced by connections created by important others, such as museum curators and art historians. I argue when museum exhibitions show artists together, curators are creating symbolic associations between artists that signal the artist’s import and contextualization within his or her peer group. These exhibition-created associations, in turn, influence historians who must choose a small selection of artists to exemplify a historical cohort. The research tests this idea through a cohort of 125 artists’ exhibition networks in the Museum of Modern Art, New York, from 1929 to 1968 (996 exhibitions). Individual network variables, such as number and quality of connections, are examined for impact on an artist’s recognition in current art history textbooks (2012-2014). Results indicate certain connections created by exhibition have a positive effect on historical recognition, even when controlling for individual accomplishments of the artist (such as solo exhibitions). Artists connected with prestigious artists through “strong symbolic ties” (i.e., repeated exhibition) tend to garner the most historical recognition, suggesting robust associations with historical peers may signify an artist’s exemplary status within his or her cohort, and consequent “good fit” into the historical narrative.
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Jang, Yeonjoo, and Nayeun Choi. "Artists’ Mental Health Research: Trend and Future Directions." Korean Society of Culture and Convergence 44, no. 5 (May 31, 2022): 529–48. http://dx.doi.org/10.33645/cnc.2022.5.44.5.529.
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This research aims to define artists by examining relevant laws and previous research related to the mental health of Korean artists. Further, this study aims to present the direction for future research on mental health of artists by systematically analyzing research trends. The research questions to be examined in this study are, first, what is the current status of research related to artists' mental health? Second, what research topics are related to artists' mental health? Third, what is the future of research on artist's mental health? A total of 26 articles and dissertations published in Korean journals from 1998 to 2021 were analyzed in this study. By year, research field, research method, presence of term definition, academic field of the researcher, and subject trend were used as criteria for analysis. As a result, research on artist’s mental health has increased since 2014. However, there is a lack of research on various aspects of arts by not having a clear definition of the artist. Furthermore, the rate of research done by non-mental health related fields was higher than mental health-related fields. The research on artists’ mental health such as depression, suicide, and anxiety were the most frequently studied. As future research directions, ‘defining of terms in the art field’, ‘activating interdisciplinary research’, ‘needing for qualitative data’, ‘studying the occupational gap and creative hardships of artists’, as well as ‘expanding on positive variables in research affecting the quality of life of artists’ were proposed. Finally, the limitations and significance of this study were discussed.
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Harris, Catherine T., Philip J. Perricone, and Margaret Supplee Smith. "The Artist and Androgyny: A Study of Gender Identity in Visual Artists." Empirical Studies of the Arts 6, no. 1 (January 1988): 67–78. http://dx.doi.org/10.2190/9p69-xcur-c3na-2dck.
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While art is an activity that is socially valued, the image of the artist as perceived by the public and expressed in the literature has rarely been studied empirically. The Adjective Check List is used to test one dimension of this issue—June Wayne's hypothesis that the artist is a stereotypical woman, focusing on the artist's view of himself/herself and artists in general. Data were gathered by means of a questionnaire mailed to 1753 artists who had been nominated for the national Awards in Visual Arts during the first five years of the program (1982–86). It was found that artists tend to have self-images which are androgynous in terms of sex stereotyping, while at the same time, they see artists in general as relatively masculine. It was also found that while artists tend to view their colleagues in favorable terms, they view themselves as individual artists significantly more favorably. The implications of these findings for the profession of art are discussed.
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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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Franc, Małgorzata. "Training of Artists or Artisans?" ART Space, no. 3 (2018): 8–11. http://dx.doi.org/10.28925/2519-4135.4.2018.3.2.
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The article analyses the situation in Polish art education after 1990. It is indicated that higher art education in Poland can be obtained in eighteen universities and five affiliates in eleven Polish cities. The complex situation of higher art education is examined. The role of applied arts is noted.
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Lewis, Johanna Miller, Barbara Crawford, and Royster Lyle Jr. "Rockbridge County Artists and Artisans." Journal of Southern History 63, no. 1 (February 1997): 146. http://dx.doi.org/10.2307/2211952.
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Kim, Yunsoo. "Discussion based on the Copyright Law about When the Artist Controverts the Decision on Artwork’s Authenticity: Focusing on the Artist’s Disavowal Cases." Korea Copyright Commission 140 (December 31, 2022): 215–52. http://dx.doi.org/10.30582/kdps.2022.35.4.215.
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Cases that the artists denied the works which were known to be their own works (i. e. forgery cases) have been raised for a long time. Also, there were cases that the artist voluntarily acknowledged a forgery as the authentic work of the artist. There are various reasons why artists carry through their arguments that contradict the facts and court’s decision of the authenticity of the artwork in issue; to defend the artist's own social honor or subjective honor, or to strongly express the artist’s favor on the usage or ownership of the work, or due to some other interest matters related the work, etc. There are two types of artists’ disavowal; (1) the artist’s denial of the fact that the artist oneself created the work (i.e. usually meaning the 'forgery'); (2) the artist’s announcement that the artwork is no longer his or her work based on some incidents (damage, alteration of the work, or consumption and usage of the work that the artist did not want, etc.) to prevent further attribution of the artist’s name on the work or transaction of the work. When the dispute over the forgery of a work or the legality of an artist’s disavowal of a work rises, the artwork’s price in the market might go extremely unstable or it could be excluded from the auction. Moreover, not only the author but also the various parties such as the dealer, gallery owner, collector, or owner of the artwork can file lawsuits involving diverse issues like infringement of the artist’s right to attribution or right to integrity, or breach of contract issues, etc. The court reviews the claims of the parties, expert opinions, and the evidence of facts relevant to the work. Factual evidence of the art transaction and the artist’s history tends to play a great role in the court’s decision. However, if the parties continue to adhere to their stance despite the authentication results or the court decision, it causes various problems in the art market. This paper tries to find a way to protect both the freedom of trade and the safety of trade while respecting the various parties’ interests, the opinions of the art professionals, and the decision of the judiciary. In addition, this paper covers the methods of attributing the author and indicating artwork’s information during controversies, and ideas for drafting the contract and legal documents for such cases.
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Dobbs, Todd, Abdullah-Al-Raihan Nayeem, Isaac Cho, and Zbigniew Ras. "Contemporary Art Authentication with Large-Scale Classification." Big Data and Cognitive Computing 7, no. 4 (October 9, 2023): 162. http://dx.doi.org/10.3390/bdcc7040162.
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Art authentication is the process of identifying the artist who created a piece of artwork and is manifested through events of provenance, such as art gallery exhibitions and financial transactions. Art authentication has visual influence via the uniqueness of the artist’s style in contrast to the style of another artist. The significance of this contrast is proportional to the number of artists involved and the degree of uniqueness of an artist’s collection. This visual uniqueness of style can be captured in a mathematical model produced by a machine learning (ML) algorithm on painting images. Art authentication is not always possible as provenance can be obscured or lost through anonymity, forgery, gifting, or theft of artwork. This paper presents an image-only art authentication attribute marker of contemporary art paintings for a very large number of artists. The experiments in this paper demonstrate that it is possible to use ML-generated models to authenticate contemporary art from 2368 to 100 artists with an accuracy of 48.97% to 91.23%, respectively. This is the largest effort for image-only art authentication to date, with respect to the number of artists involved and the accuracy of authentication.
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Lindström, Sofia. "Artists and Multiple Job Holding—Breadwinning Work as Mediating Between Bohemian and Entrepreneurial Identities and Behavior." Nordic Journal of Working Life Studies 6, no. 3 (October 1, 2016): 43. http://dx.doi.org/10.19154/njwls.v6i3.5527.
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Artists are known to manage low income and work insecurity by holding multiple jobs. Through an analysis of interview data, this study explores the narratives of 20 visual artists in Sweden regarding breadwinning work. Positive and negative experiences of such work are analyzed in relation to the artists’ work behavior and identity as either ‘bohemian’ or ‘entrepreneurial.’ Breadwinning work may be seen by artists as either enabling autonomy from the market or hindering the construction of a professional identity, depending on these behaviors/identities. However, conditions such as low wage, temporary contracts, and low control over work hours ultimately decides artist’s experiences of breadwinning work. This article adds to the existing knowledge on artistic labour markets by highlighting the role of multiple job holding in mediating between an understanding of the bohemian art for art’s sake artist role and the entrepreneurial role of the artist.
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Lee, Jisoo, and Jong Woo Jun. "Personal Branding in Art: A Focus on In Depth-Interview with Art Workers." Korean Society of Culture and Convergence 45, no. 5 (May 31, 2023): 305–17. http://dx.doi.org/10.33645/cnc.2023.05.45.05.305.
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This study viewed art as an industry and discussed strategies for artists to establish themselves as important members of the art market. The brand strategy of viewing and managing individual artists as an independent personal brand was explored. We explored the potential of individual brands for Kim Whanki, Kim Tscang-yeul, and Lee Kang-so to find out about the brand identity of Korean artists. In-depth interviews were conducted with people in the art industry. They answered that building an artist's identity, continuity of activity, and active use of SNS are important factors for artists to grow as a brand. This means that it is important for the artist himself to engage in work activities with a clear direction based on his firm artistic philosophy and to continue such work activities. Communication works that actively promote and inform this are absolutely necessary. These results provide academic implications for the artist's personal brand strategy and practical implications in the contemporary art market.
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Hou, Qianhui, and Huawei Wen. "Emotional Expression of Young Artists — Take Artists like Yoshitomo Nara as an Example." Arts Studies and Criticism 3, no. 2 (July 6, 2022): 186. http://dx.doi.org/10.32629/asc.v3i2.912.
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In the development of contemporary young artists, emotion is one of the main factors that are indispensable in creation. The article takes Yoshitomo Nara as the main research object, and explores how young artists rely on emotions to create works that not only make people pleasing to the eye, but also capture people's inner feelings and resonate with viewers. At the same time, we will study the significance of childhood memories affecting the artist's creation, as well as the influence of the environment on the artist in the creation. Among artists with similar styles, how othes will express their own emotions and integrate into the picture are also the topics to be discussed in this article.
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Mirkovic, Luka. "Hegemonies in Art: Struggles of an Aspiring Artist." Journal of Extreme Anthropology 1, no. 2 (September 7, 2017): 35–40. http://dx.doi.org/10.5617/jea.4884.
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A student essay for the Special Student Issue of the Journal of Extreme Anthropology accompanying the art exhibition 'Artist's Waste, Wasted Artists', which opened in Vienna on the 19th of September 2017 and was curated by the students of social anthropology at the University of Vienna. This essay considers the pressures young artists face in the contemporary art world, illustrated on the case of a young Viennese artist Kathrin Zobl.
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Sobieraj, Kamila. "Ocena skutków regulacji poselskiego projektu ustawy o statusie artysty zawodowego." Zeszyty Prawnicze Biura Analiz Sejmowych 1, no. 69 (2021): 127–34. http://dx.doi.org/10.31268/zpbas.2021.08.
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The author discusses the basic assumptions of the planned regulation of the professional artist’s status in Polish legal system, including: the establishment of the Polish Chamber of Artists, the rules and method of confirming and verifying the status of a professional artist, and defining the rights of these artists. The author states that in order to achieve the ratio legis of the Bill, the regulations of the act should guarantee the full independence, impartiality of the Chamber’s activities and the possession of expert competences by the members of the Council of the Polish Chamber of Artists.
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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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AYTEKİN, Cemile Arzu, and Aşkın BAHADIR. "PSYCHOANALYTIC ANALYSIS OF TWO FEMINIST ARTISTS AUTOBIOGRAPHIC ART WORKS." SOCIAL SCIENCE DEVELOPMENT JOURNAL 7, no. 34 (November 15, 2022): 161–85. http://dx.doi.org/10.31567/ssd.765.
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The psychoanalytic analysis method aims to identify the artist's life experiences, traumas, traces of his self and traces of his psychic structure in the work revealed in the visual arts. The facts intended to be revealed in question reveal the autobiography of the artist in his work. While examining the psychic structure of the artist, it was determined that the artist produced autobiographical works with a Feminist approach, sometimes with life experiences and early effects on the artist's psyche. While feminist artists aimed to defend gender equality and women's rights and freedoms, they realized this through their own life experiences, and in this context, the facts related to the feminist approach were transferred to art in their own psychic structures and unconsciously. In this context, the research aims to examine the works of two prominent female artists in Feminist Art, Louise Bourgeois and Tracey Emin, to examine their psychic structures with the psychoanalytic analysis method, to reveal the autobiographical facts and to determine the feminist phenomena in the artist's Psyche. In the study, it was determined that the two female artists included in the sample revealed the Feminist phenomena stemming from their experiences, as well as the situations that exist in the existential development of the individual in the pasicaanalytic context, and the Feminist phenomena from the unconscious phenomena.
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Haffner, Dorothee. "Artists' estates: keep or get rid of them?" Art Libraries Journal 41, no. 1 (January 2016): 56–61. http://dx.doi.org/10.1017/alj.2015.9.
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The fate of the estates (Nachlässe) of visual artists are as varied as the fortunes of the artists themselves.2 It is only the well-known, high value artists with considerable resources who have the means to create their own museum or archive.3 Yet the storage and preservation of the vast remains of artists' estates is an increasingly urgent matter. Artist output has dramatically increased since the middle of the 20th century, as has the awareness of the importance of artists bequests. Artists have often taken matters into their own hands while they are still living. More often though, it is the heirs to an estate who are faced with the task after the artist's death. The immediate family (widow, widower, children) understand the importance of the work and feel a sense of obligation. But the second generation (grandchildren) questions what to do with “all this stuff”? Often the heirs do not have the expertise, understandably, and are overwhelmed by the financial and other costs of appropriate storage for the permanent preservation of the material.4 How to professionally accommodate, develop and make such collections accessible? In the following, several models for the handling and storage of artist estates are presented, with specific reference to the issues of sifting, recording and selection.
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Singh, Sarabjeet. "ABSTRACTION IN REFLECTION BY KISHAN MEENA: TANTRISM IN VISUALS (THE SOUL OF WATER)." ShodhKosh: Journal of Visual and Performing Arts 4, no. 1 (January 10, 2023): 1–8. http://dx.doi.org/10.29121/shodhkosh.v4.i1.2023.263.
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The thinking of the modern artists created a vision of looking at artwork and new subjects in a new way. As a result, abstract art emerged as a feature of modern art. The artists present abstract art with his different perspective and medium. Photography is a modern and fast medium that is able to present the artist's thinking in a different way. Fine arts photography presents the viewer by shaping the artist's vision. The artist uses photography as a medium to create his own ideas. Photography has presented Tantra art as well by providing a visual look with modernity and digitally as well. Indian artists like Ajit Mukherjee, S.H. Raza, Biren De and Sohan Qadri have visually presented Indian mythology through painting as tantra art. We are going to talk about an artist Kishan Meena who took his Photography on another level of modernity in the Digital era. He has introduced the art of Tantra in the form of abstract art with the method of Digital photography and has nurtured the cycle of life through it.
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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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Rafiq qızı Əliyeva, Vüsalə. "Artistic solution of Absheron’s theme in Jalal Agayev’s work." SCIENTIFIC WORK 66, no. 05 (May 20, 2021): 164–67. http://dx.doi.org/10.36719/2663-4619/66/164-167.
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There is a group of artists in contemporary Azerbaijani fine arts, whose creative works focus on the theme of Absheron. For half a century, this theme has defined the style of most of our artists with its specificity, rich ethnography, national harmony and lyrics. Jalal Aghayev is one of such artists, and the theme of Absheron covers a large part of his creative work. The inexhaustible love for the land of Absheron has been rooted in the artist's heart since childhood. This love led the artist to create a series of beautiful works on this subject. Key words: landscape, Absheron, painting, tradition, plot, composition, decorative
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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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Pérez Ibáñez, Marta, and Isidro López-Aparicio. "Actividad artística y precariedad laboral en España: análisis a partir de un estudio global." Arte y Políticas de Identidad 19 (December 30, 2018): 49–66. http://dx.doi.org/10.6018/reapi.359771.
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Este artículo, fruto de un proyecto de investigación interdisciplinar, pretende contextualizar la actividad profesional de los artistas plásticos y visuales en España, en las actuales circunstancias económicas, sociales y laborales. En primer lugar, ante la compleja problemática sobre la consideración de artista profesional y ante la ausencia de registros y censos específicos que permitan estudiar este sector, delimitamos los criterios que lo definen y la relación entre su identidad, su actividad, su rendimiento económico, y analizamos su conexión con el resto del sistema del arte. Posteriormente, a partir de indicadores económicos y laborales nacionales y europeos, proponemos una primera cuantificación de artistas plásticos y visuales españoles, un dato inexistente y altamente demandado por el sector. Por último, enumeramos algunos de los datos más significativos aportados por esta investigación sobre la situación económica actual del sector, un estudio en el que han participado más de 1.100 artistas españoles, cuyos resultados nos reafirman en nuestra hipótesis sobre la precariedad del trabajo artístico, y en la necesidad de conocer en mayor profundidad las demandas, necesidades y capacidades de los artistas en el actual contexto social, económico y cultural español. This article, the result of an interdisciplinary research project, aims to contextualize the professional activity of visual and visual artists in Spain, in the current economic, social and labor circumstances. In the first place, due to the complex issue regarding the consideration of professional artist and in the absence of specific censuses that allow us to study this sector, we delimit the criteria that define it and the relationship between their identity, activity, economic performance, and connection with the rest of the art system. Next, based on national and European economic and labor indicators, we propose a first quantification of Spanish visual and visual artists, a nonexistent fact and highly demanded by the sector. Finally, we list some of the most significant data provided by this research on the current economic situation of the sector, a study in which more than 1,100 Spanish artists have participated. The results reaffirm our hypothesis about the precariousness of artistic work, and the need to know in greater depth the demands, needs and capacities of artists in the current Spanish social, economic and cultural context.
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Midhin, Majeed Mohammed, and Ahmed Hameed Obeid. "An Analytical Study of Theatre and censorship in Howard Barker’s No End of Blame: Scenes of Overcoming (1981) and Scenes from an Execution (1984)." Dirasat: Human and Social Sciences 50, no. 6 (December 30, 2023): 265–75. http://dx.doi.org/10.35516/hum.v50i6.7081.
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Objectives: This paper explores the use of history in contemporary British theatre to address issues like marginalization and censorship, focusing on Barker's theatre theory, which diverges from early works by Churchill and Hare. Emphasizing the artist's role and responsibilities, it delves into potential dilemmas faced in the realm of contemporary British theatre.
Methods: This study critically analyzes Barker's plays, "No End of Blame: Scenes of Overcoming" (1981) and "Scenes from an Execution" (1984), through the lens of his influential book, "Arguments for a Theatre." Additionally, insights from interviews with the playwright are incorporated to better understand Barker's views on theatre and censorship.
Results: Government interference adversely impacts an artist's freedom, creating a dialectical relationship between the artist and the state. In the 1980s, the theme of censorship and restricted expression is portrayed through artist figures in conflict with external forces. Depicting artists as characters not only illustrates the dilemmas, they faced but also serves as a critique of political efforts to suppress voices during that decade.
Conclusions: The paper concludes that artists may intentionally conceal opinions to evade censorship, emphasizing the need for artists to balance political demands with personal expression. Unlike peers like Stoppard and Wertenbaker, Barker doesn't advocate a specific ideology in his plays. He views theatre as a space for unleashing individual imagination rather than conveying a message or utilitarian value. The exploration of artists' roles and responsibilities in Barker's plays remains a fertile area for ongoing research and discovery.
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Li, Xinqi. "Breaking through the Traditional barrier: the Performability of Asian Action performance Calligraphy." BCP Social Sciences & Humanities 17 (May 10, 2022): 295–302. http://dx.doi.org/10.54691/bcpssh.v17i.670.
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This article in Harold rosenberg of the proposed action painting, on the basis of the Asia movement performance calligraphy this specifically for the art of calligraphy artist form new schools were discussed, based on a number of calligraphy artist used by art material, creative process, and the comparison of relevant context and discourse, to introduce a number of calligraphy artist's unique art form. The feedback of interviews with artists will be used as references and their representative views will be presented completely. It proves that the performance forms and artistic concepts of Asian calligraphy artists make calligraphy's territory no longer limited to visual art or shaping art, but also invade into the country of language art and performing art.
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GROSS, Eduard Claudiu. "The Artists in the Branded World. A Theoretical Approach to Artist Personal Branding." Journal of Media Research 15, no. 2 (43) (July 25, 2022): 56–68. http://dx.doi.org/10.24193/jmr.43.4.
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This paper presents the need for artists to develop the ability to promote their work through marketing and communication theories. Currently, marketing is not an essential component for art faculties and artists in general. Through Personal Branding, emerging artists would have the chance to grow and build their audience and reputation without depending on curators, art critics, and museums. This paper emerges in a difficult context for the arts sector following an unprecedented health crisis that has deeply affected the labor market. In addition to summarizing the current literature, this study will present three different frameworks to support the artists in building a personal brand. This study aims to be a starting point for future empirical work on the artist in the world of branding. This theoretical approach aims to present the literature in the field of communication, highlight the differences between artists and content creators, as well as look at how the world of art functions, to find common ground for a better application of marketing theory from an artist's perspective.
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Piemontese, Marc. "Les Artistes et la Lumière: Artists and Light." Leonardo 26, no. 1 (1993): 70. http://dx.doi.org/10.2307/1575784.
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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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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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Speight, Allen. "Artisans, Artists and Hegel's History of Art." Hegel Bulletin 34, no. 2 (August 23, 2013): 203–22. http://dx.doi.org/10.1017/hgl.2013.12.
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This article examines Hegel's use of the distinction between ‘artist’ (Künstler) and ‘artisan’ (Werkmeister) in light of recent discussion about the ‘end’ of art and the distinction betweeen art and craft that, as some have argued, has been central to the concept of the fine arts since the eighteenth century. Hegel does employ an important distinction between artist and artisan, but he does so within a larger account of the continuum of forms of human making that can take into consideration the importance of the artisan's work as well as the artist's. Hegel's account involves two distinctive features not always at issue in the artist/artisan distinction: the stress on the social changes required for new forms of art to emerge and an embrace of the human being as the essentially retrospective and interpretive animal in whom the decisive intersection of content and form finally makes art what it is.
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Szostak, Michał, and Łukasz Sułkowski. "The identity and self-perception of artists-managers." Problems and Perspectives in Management 19, no. 1 (March 25, 2021): 372–86. http://dx.doi.org/10.21511/ppm.19(1).2021.32.
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Manager’s and artist’s professional identities seem to be opposite, but there are many indications that this understanding is not justified in reality. Despite the contradictions, these two identities can intersect. The paper aims to define the characteristics of the artists-managers’ identity. The object of the study was qualitative research (n = 22) conducted in the form of in-depth interviews with key informants from the international environment. The practical objective was to verify common and contradicted features of the artist’s and the manager’s identities among artists-managers to understand the possibilities of reducing the intra-psychic tensions and ways of fruitful paradoxical thinking among managers and negative consequences for personalities and organizations. The study reveals common characteristics between the artist’s and manager’s identities and describes artists-managers’ identity. Although artists-managers experience diversity between both identities, they do not see them as contrary; they use paradoxical thinking, being experts in using personal seemingly contradictory characteristics to achieve outstanding performance. Acting in paradoxical contexts and focusing on the positive aspects of seemingly contradictory personal qualities, they find nonstandard creative solutions. By trying to understand and implement their self-construction, there is the possibility to reduce the intra-psychic tensions and negative consequences of seemingly opposite identities or goals among individuals in organizations. There is a synergy between the manager’s and artist’s identities. Understanding the nature and attributes of artistic creativity, aesthetic theories and the phenomenon of artist-manager’s identity can be a valuable contribution to the practice of management and organizational life.
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Gupta, Pooja. "REFLECTION OF SOCIETY IN THE REFERENCE OF PAINTINGS." International Journal of Research -GRANTHAALAYAH 7, no. 11 (November 30, 2019): 114–45. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3723.
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The relation of visual art, artists and society is the focal point around which this paper rotates. There exists a reciprocal connection between the three, which has to be comprehended concurrently. Society needs art, and artists not only for enriching its culture, but also for the very development of humankind. This mutual relationship is consequently set beneath the sociological microscope and an effort has been made to comprehend the diverse nuances of the lives of the respondent artists. An artist is dependent in one way or another on other people around him and is enmeshed in a whole series of social relationships. Social issues are one of the major themes of the artwork of number of the artists. Anything that moves the artists or appeals to their artistic sense becomes their motivation for creation. The other thing that inspired them was that, for the artists, painting is a desire, a need, an urge, or a drive to communicate and express. For some it is like meditation or doing practice. It is more of a psychological satisfaction that they gain by giving this passion an expression. The need to earn a living also at times motivated them to create. The artist’s personal experiences in life, their frustrations, joys and happiness inspire them to paint.
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Ekasari, Raudha Putri, Marlinda Irwanti, Burhan Bungin, and Jamalullail Jamalullail. "Makeup Artist Communication Mix Model in Jakarta." Pancasila International Journal of Applied Social Science 2, no. 02 (April 30, 2024): 292–311. http://dx.doi.org/10.59653/pancasila.v2i02.623.
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Makeup Artist as a business-to-consumer (B2C) that focuses on providing direct services to individual clients. Since the Covid-19 pandemic, digital marketing has been increasingly relied upon to reach users. Content optimization through social media is an effective strategy in reaching users. Through phenomenology involving a number of prominent Makeup Artists in Jakarta, this research explores the use of Communication Mix tools used by Makeup Artists in marketing their services. A qualitative research method with color coding was used for the case studies in this research. The Communication Mix is the main object of this research, while the leading Makeup Artists in Jakarta will be the subject of the research. Data will be collected through in-depth interviews and content from social media used by makeup artists. From the results of data analysis using color coding on interview transcripts, from 6 (six) Communication Mixes: 1) Advertising, 2) Public Relations, 3) Sales service/agents/remote marketing, 4) Events, activities, and meetings, 5) Word of Mouth, 6) Sales Promotion, only 4 (four) are maximally used by Makeup Artists. No one Communication Mix tool can stand alone. Instead, a strategic combination of all four Communication Mix tools, namely: 1) Advertising, 2) Sales Promotion, 3) Public Relations, and 4) Word of Mouth, can create a very strong synergistic effect in expanding the reach and increasing the success of the Makeup Artist's business and can be maximally used by the Makeup Artist for services and acquiring potential clients.
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Brady, Lizz. "Not outsider artists—just artists." Lancet Psychiatry 4, no. 2 (February 2017): 99. http://dx.doi.org/10.1016/s2215-0366(16)30446-1.
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Johanson, Katya, and Hilary Glow. "Reinstating the artist’s voice: Artists’ perspectives on participatory projects." Journal of Sociology 55, no. 3 (September 20, 2018): 411–25. http://dx.doi.org/10.1177/1440783318798922.
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Claire Bishop argued that the ethical lens applied to socially engaged arts practice encourages ‘authorial renunciation’ in favour of collaboration and limits the opportunity to expose such practice to critical reception. This article responds to Bishop’s implicit call to envision an artist-centred framework for participatory arts by identifying the motivations and beneficial discoveries that artists make when they seek out the creative involvement of others. Based on interviews with Australian performing artists who have established socially engaged practices, the article aims to bring about a form of ‘authorial reinstatement’ into the value system around participatory arts practice. It identifies a range of motivations for artists who establish socially engaged or participatory practice, from self-developmental to altruistic; and from arts-focused to community- and society-focused. The article argues that using these motivations to inform indicators of achievement for participatory practice provides new opportunities for critical interrogation of those practices.
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Legret, Mathilde. "The Vocational Regime in Art: On Myths and Performativity." Journal of Extreme Anthropology 1, no. 2 (September 7, 2017): 41–47. http://dx.doi.org/10.5617/jea.4886.
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A student essay for the Special Student Issue of the Journal of Extreme Anthropology accompanying the art exhibition 'Artist's Waste, Wasted Artists', which opened in Vienna on the 19th of September 2017 and was curated by the students of social anthropology at the University of Vienna. This essay analyzes the development and mythology behind the notion of 'vocation' within the art world, while using the case of the Viennese artist Ursula Hübner. It argues that it is not only art institutions and the society, but also artists themselves who are complicit in the reproduction and valorization of the myth of vocation in art.
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Borowitz, Maggie. "“To Make Books Is to Multiply”: Artists' Books and Feminist Expression in Mexico." ARTMargins 12, no. 3 (October 1, 2023): 7–29. http://dx.doi.org/10.1162/artm_a_00361.
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Abstract In the late 1970s and early 80s, artist's books exploded in Mexico City. The impetus for this explosion has often been located in the artistic practice of the experimental artist Felipe Ehrenberg and the bookmaking workshops he offered beginning in 1976. While Ehrenberg was undoubtedly influential, this essay reexamines the history of this period—a so-called Golden Epoch of independent publishing in Mexico––in order to recuperate the significant role that feminist-aligned artists played in advancing the medium of the artist's book. In particular, I examine early editions produced by the artists Magali Lara and Yani Pecanins. Both prolific producers and staunch advocates for the artist's book medium, Lara and Pecanins wielded the book form's unique qualities in order to interrogate and validate aspects of women's experience that were often elided from both Mexican popular culture and the contemporaneous experimental art scene. Their early artist's books were conduits for feminist expression that pushed the limits of formal experimentation and forged new circuits of communication.
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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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Nirwana, Aditya, Imam Mukhlis, F. Danardana Murwani, and Didit Prasetyo Nugroho. "Instrumentalism, Utilitarianism, Arts Entrepreneurship, and Digital Cosmopolitanism as a Global Perspective of Indonesian Emerging Artists." Scholars Journal of Arts, Humanities and Social Sciences 12, no. 04 (April 13, 2024): 134–46. http://dx.doi.org/10.36347/sjahss.2024.v12i04.004.
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In particular, rare scientific-academic studies still attempt to investigate the problems artists face in Indonesia. However, that does not mean that art in Indonesia runs without problems; artists encounter many challenges in carrying out their careers, Starting from the issue of respect for the profession of artists, lack of art facilities, violations of freedom of work by the ruler, to economic problems that until now have become typical problems. Through literature study, this paper will explore what is happening in the mainstream modern art arena and initiate concepts or strategies for Indonesian emerging artists to be more independent, sustainable, and emancipatory. From the construct of arguments and ideas, we obtained a model of 4 layers of art practice: 1) Instrumentalism, 2) Utilitarianism, 3) Arts Entrepreneurship, and 4) Digital Cosmopolitanism. The first two values become the artist's or "internal attitudes." At the same time, the last two represent an "external attitude" towards the work already created and how the artist takes the work from the reality of individual artistic experience to social reality (the social world).
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Setai, Phokeng T., Jan K. Coetzee, Christoph Maeder, Magdalena Wojciechowska, and Leane Ackermann. "The Creative Process. A Case for Meaning-Making." Qualitative Sociology Review 14, no. 4 (January 8, 2019): 86–99. http://dx.doi.org/10.18778/1733-8077.14.4.06.
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Since the beginning of time art-making has been a tool to express, preserve, and challenge the extant knowledge in society. Artists do this by finding or creatively constructing new understandings in society. An artist is able to do this through the medium he/she uses to relay the message of the artwork. The medium that an artist uses to express his/her artistic concept has an impact on the character that the artwork will take. The medium of expression forms but one of the many considerations that go through an artist’s mind when creating art. In the process of art-making, an artist seeks to create new meanings or re-imagine old ones by organizing materials and concepts. In so doing, he/she discovers novel ways to get ideas across, and thereby creates new interpretations of social phenomena. In this article, attention is given to meaning-making as a conscious and iterative component of creating art. From a series of in-depth interviews, the authors analyze the inward processes that occur within six artists’ creative praxes and how these lead their construction of meaning. Attention is also paid to how the artists manipulate concepts and how they construct and deconstruct their understandings of these concepts in the course of their creative endeavors.
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Ohadi-Hamadani, Maryam. "Denis Williams’s London." Nka Journal of Contemporary African Art 2019, no. 45 (November 1, 2019): 18–33. http://dx.doi.org/10.1215/10757163-7916832.
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This article is a study of several works by Guyanese artist Denis Williams and the exhibitions of these works. Williams (1923–98) was a key figure in the history of artists of the then British Empire who made their way to London in the middle of the twentieth century (Williams himself arriving in 1946). The article discusses one of Williams’s most celebrated works, Human World (1950), and examines how the artist’s practice engaged with anticolonial resistance and modernist discourse surrounding abstraction. The author also explores and comments on the exhibitions in which Williams participated during his time in London and the reception his works received from artists and critics.
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Coetser, Yolandi M. "Exploring the Legality of Artists’ Use of Animals: Ethical Considerations and Legal Implications." Arts 12, no. 4 (July 13, 2023): 155. http://dx.doi.org/10.3390/arts12040155.
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A burgeoning field of literature considers animal law, the status of animals as legal objects, the protection of animals in laboratories, wild animals, etc. One aspect not often considered in the literature is the intersection between animal law and freedom of speech and, more specifically, the freedom of speech of artists. While these might seem disparate and mutually exclusive, they are not. A small but notable number of artists use, harm, or even kill animals in the creation of artwork. Elsewhere, this practice has been termed ‘cruel art’, defined as “the infliction of physical and/or emotional pain on non-human animals for the sole purpose of creating art that steps beyond the confines of the artist’s right to freedom of speech”. This article elaborates on the concept of ‘cruel art’ by considering animal law and the artist’s freedom of expression. Interesting questions arise at this intersection: Can the law grant rights or otherwise protect the animal from being used, harmed, or killed for an artwork? Alternatively, can the law encroach on the artists’ freedom of speech to protect the animals? There are good reasons to protect both parties—animals deserve protection from unnecessary suffering, and the artist should not be unduly censored from making art. This article seeks to engage with the following question: how can one consider an animal’s legal standing in relation to an artist’s freedom of speech? In order to answer this question, this article first briefly unpacks the concept of animal law and the need for legal reform in this arena. Secondly, this article considers freedom of speech as it relates to artists specifically. Third, it discusses the rising conflict between the legal protection of animals and the artist’s freedom of expression. This article argues that certain artistic uses of animals should be legally prohibited, despite the fact that artists enjoy the right to freedom of artistic expression.
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Tafur, Paola Andrea. "Creación artística: el artista y la comunidad." Revista Lumen Gentium 3, no. 2 (October 20, 2020): 34–44. http://dx.doi.org/10.52525/lg.v3n2a3.
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La intención de este texto es reconocer diversos escenarios, épocas y obras artísticas específicas que permiten una aproximación a distintas maneras en que algunos artistas plásticos y visuales se desligaron de los procesos creativos individuales convencionales y eligieron actos artísticos colectivos. Se orienta a señalar el sentido de ruptura y desobediencia que asumen los artistas en sistemas culturales tradicionales, lo cual, lleva a identificar estrategias empleadas para generar experiencias estéticas, desarrollar conocimiento y legitimar obras mediante procesos creativos participativos, que permitan, seguir algunas premisas históricas globales y locales con el fin de analizar actos creativos que surgen entre el artista y la comunidad necesarios para el desarrollo del proyecto de investigación titulado Prácticas y saberes comunitarios para la creación artística.
Abstract
The intention of this text is to recognize various scenarios, epochs, geographies and specific artistic works, which allow an approach to various ways in which some visual and plastic artists separated them selves from conventional individual creative processes and chose collective artistic acts. It aims at pointing out the sense of rupture and disobedience assumed by artists in traditional cultural systems, and, which entails identifying strategies used to generate aes thetic experiences, develop knowledge and legitimize works through creative participatory processes, which allows following some historical premises to try to answer: how can we analyze the creative acts that arise collectively between artist and community?, a concern that arises in the framework of the research project entitled: Community practices and knowledge for artistic creation.
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Berryman, Jim. "V. Gordon Childe and Arnold Hauser on the social origins of the artist." Thesis Eleven 168, no. 1 (November 8, 2021): 21–36. http://dx.doi.org/10.1177/07255136211053384.
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Vere Gordon Childe’s theory of craft specialisation was an important influence on Arnold Hauser’s book The Social History of Art, published in 1951. Childe’s Marxist interpretation of prehistory enabled Hauser to establish a material foundation for the occupation of the artist in Western art history. However, Hauser’s effort to construct a progressive basis for artistic labour was complicated by art’s ancient connections to religion and superstition. While the artist’s social position and class loyalties were ambiguous in Childe’s accounts of early civilisations, Hauser consigned artists to the lower echelons of society. This relegation did not imply that Hauser had a low regard for artistic skills. Quite the opposite, the artist’s inferior social status enabled Hauser to distance artists from the ruling class, and consequently, to separate artistic handiwork from the dominant ideology that works of art manifested.