Статті в журналах: "Professional artist"

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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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Klāsone, Inta. "Aspects of the professional development of the artist – educator." SOCIETY, INTEGRATION, EDUCATION. Proceedings of the International Scientific Conference 1 (May 9, 2015): 319. http://dx.doi.org/10.17770/sie2012vol1.53.

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<span>The article reveals the involvement of the artist – pedagogue into the process of education and some important interconnected aspects of professional qualification development. Alongside with that, the tendencies of the epoch and activity orientation of the artist – pedagogue in accordance with Sustainable Development Strategy of Latvia until 2030 have been characterized. Involvement of a professional artist in the pedagogical process demands to acquire pedagogical science: significant aspects of teaching and upbringing. The article deals with components and functions of the concept of education, revealing its characteristic features in nowadays society and giving insight into the future system of education. The dynamics of the artist – pedagogue forms of qualification development. As a result, the conclusions have been worked out. The aim of the research is to reflect the aspects of the artist – pedagogue professional development, based on docoments analysis, on the findings of pedagogues, art historians and survey of artists – pedagogues.</span>

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Nguyen, Viet Hung. "ARTISTS CHANTING - NARRATING EPIC POEMS PROFESSIONAL OR UNPROFESSIONAL?" UED Journal of Social Sciences, Humanities and Education 10, Special (September 27, 2020): 62–69. http://dx.doi.org/10.47393/jshe.v10ispecial.881.

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Homer’s creative works Iliad, Odyssey have undergone a history of thousands of years, but the Homeric issues have never ceased to be new to generations of researchers. There still remain unanswered questions: Was Homer a professional writer or a folk artist? Did his epical compositions belong to the written or oral literary genre? Were Homer's poems the works of a single poet or of many contributors? We refer to Homer as an artist, a collector and compiler of Greek epics in relation to the type of epic artists in Vietnam. A study of the artists chanting-narrating epic poems from various perspectives: society - profession (professional or amateur?), mode of artistic creation (folk or scholarly?), the relationship between performance and context (ritualistic or non-ritualistic?) ... will clarify the characteristics of the artists chanting - narrating epic poems and the nature of the artistic creation process, and probably put forward suggestions for the preservation of the epic repertoire of ethnic groups.

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Bardi, Augustine Okola. "4. Kazeem Olojo: A Professional Painter and an Art Instructor Universal Studios of Art, Lagos, Nigeria." Review of Artistic Education 14, no. 1 (March 2, 2017): 262–70. http://dx.doi.org/10.1515/rae-2017-0032.

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Abstract The works of art are priceless going by the quality of works exhibited by an artist. The artist tends to describe a particular scene near to the natural object in question. In the 15th and 16th centuries , France relayed on the impressionists who graduated from workshops and schools of apprentice in the likes of Gauguin, Monet, Manet, Degas, Renoir Cezanne, Delacroix and others to capture scenes of the Parisian country side that existed long age. The artist and his works remain indispensible to the existing societies. This form of art venture is not new to Nigeria where schools and workshops of apprenticeship exist. In Nigeria, the existing heritage and traditions if not for the artists will not be translated into art by the artists particularly painters like Dale, Oshinowo, Oguntokun, Emokpae, El-Dragg and others. The existence of workshops and schools of learning art have trained more artists to keep the aesthetical values of art. The society would be no doubt an unpleasant community without a touch of the arts. The artists who on daily bases create by painting, sculpting to make the environment a pleasurable place remain an important factor in the society.

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Nagata, Mary Louise. "The Artist as Professional in Japan." History: Reviews of New Books 33, no. 1 (January 2004): 35. http://dx.doi.org/10.1080/03612759.2004.10526437.

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Orchard, Robert J. "The Professional Artist and the University." Journal of Arts Management, Law, and Society 30, no. 2 (January 2000): 85–90. http://dx.doi.org/10.1080/10632920009601287.

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Nakamura, Kazuyo, and Akio Okazaki. "The Artist as Professional in Japan." Journal of Aesthetic Education 41, no. 3 (October 1, 2007): 118–20. http://dx.doi.org/10.2307/25160242.

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Мирончук, B. "ART IMAGES IN TV PROFESSOR VK YAKUNIN." Problems of Political History of Ukraine, no. 15 (February 5, 2020): 40–43. http://dx.doi.org/10.33287/11925.

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The article is devoted is scientific personal contribution to the development of fine art by the talented scientist and teacher Victor Kuzmovich Yakunin, who proved himself a capable amateur artist, embodying a certain system of artistic standards, attracting forms of professional art, emphasizes that the genre preferences of the artist were, in the time and portraits, there were copies of canvases of famous artists.

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Carradini, Stephen. "Artist Communication: An Interdisciplinary Business and Professional Communication Course." Business and Professional Communication Quarterly 82, no. 2 (February 5, 2019): 133–52. http://dx.doi.org/10.1177/2329490619826113.

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The arts have not received much attention from business and professional communication (BPC) scholars who are interested in workplace communication. This article begins to fill that gap by explaining a course focused on the BPC that artists produce in their careers. Students learned BPC genres by addressing arts situations: They crafted email pitches to promoters, took promotional photography, created crowdfunding proposals, and more. I argue that teaching artist communication can give a new context to existing BPC assignments, encourage interdisciplinary initiatives, and allow for the incorporation of natively digital communication genres into existing courses.

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Gerlieb, Anne. "TikTok as a New Player in the Contemporary Arts Market: A Study with Special Consideration of Feminist Artists and a New Generation of Art Collectors." Arts 10, no. 3 (July 30, 2021): 52. http://dx.doi.org/10.3390/arts10030052.

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How do social-media platforms such as TikTok function as a neutralising factor in the gatekeeping process in times of COVID-19 restrictions? How does TikTok change the experience culture in arts, and how does this impact how artists frame their working process alongside primary gatekeepers? During the COVID-19 pandemic, TikTok attracted many artists, who used the platform to take their practice, and thereby their self-marketing, into their own hands. At the same time, a new generation of collectors use TikTok to discover art under popular hashtag #feministartists. When artists label their work with #feministartists, they insert themselves into the gatekeeping process, and use opportunities and restrictions bounded to that specific hashtag. The study examines this process of professional self-positioning by using interviews with contemporary artists, curators, and observations on TikTok, artist talks, and secondary interviews with artists on online platforms. The findings suggest a variation in how one trades in or trades on “feminist artist”, accessing resources, and gaining exposure. A focus on “feminist artists” is restrictive for consolidating artists’ efforts to pursue specific professional, social, political, and economic agendas through art.

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Chen, Linqi. "YUEHUA's Business Analysis Based on SWOT Model." BCP Business & Management 34 (December 14, 2022): 641–44. http://dx.doi.org/10.54691/bcpbm.v34i.3077.

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In the current electronic age, the demand for the quality entertainment industry is becoming more and more important. There is a growing interest in celebrity artists, and the entertainment industry is evolving around them. YUEHUA Entertainment, a well-known professional artist management company in China, is thriving as consumer demand for high-quality monthly entertainment is increasing. This article will analyze the corporate development of YUEHUA Entertainment based on the SWOT model. It is found that the development of YUEHUA Entertainment has limitation in terms of artist resources and the expanse of popularity. Its professional trainee training system, and its long-term stable partners due to its long development time. On the contrary, the main weakness is that the company's business situation is overly dependent on the development of the artist management business. The significance of this thesis research is to summarize the development of YUEHUA and help others to understand this company.

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Nakamura, Kazuyo, and Akio Okazaki. "The Artist as Professional in Japan (review)." Journal of Aesthetic Education 41, no. 3 (2007): 118–20. http://dx.doi.org/10.1353/jae.2007.0028.

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Morse, Samuel Crowell. "The Artist as Professional in Japan (review)." Journal of Japanese Studies 31, no. 2 (2005): 449–53. http://dx.doi.org/10.1353/jjs.2005.0052.

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Jaffe, Nick. "A Framework for Teaching Artist Professional Development." Teaching Artist Journal 10, no. 1 (January 2012): 34–42. http://dx.doi.org/10.1080/15411796.2012.630638.

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Phillips, Quitman E. "The Artist as Professional in Japan (review)." Monumenta Nipponica 60, no. 1 (2005): 140–43. http://dx.doi.org/10.1353/mni.2005.0012.

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Wichstrom, Anne. "An artist by vocation or desire? Professional artists with the mark of amateurism." NORA - Nordic Journal of Feminist and Gender Research 3, no. 2 (January 1995): 113–25. http://dx.doi.org/10.1080/08038740.1995.9959680.

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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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Lachapelle, Richard. "The Ottawa Roman Catholic Separate School Board’s Artists-in-Residence Program (1970-1988): One Point of View." Canadian Review of Art Education: Research and Issues / Revue canadienne de recherches et enjeux en éducation artistique 42, no. 2 (May 27, 2016): 3. http://dx.doi.org/10.26443/crae.v42i2.5.

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This paper documents an educational artist-in-residence program that was particularly active in some Ottawa Roman Catholic Separate School Board primary schools during the period 1970 to 1988. In schools where space was available, professional artists were assigned studio space as a means to encourage their participation in the day-to-day life of the schools. In exchange, the visual and performing artists offered non-teaching services that included mentoring and participation in stage plays, mural creation and art exhibitions. These activities mainly took place within the framework of the artists' everyday ongoing professional practice.

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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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Mikkola, Piia, and Riikka Nissi. "Myyntityötä ja osallistumisen säätelyä." AFinLA-e: Soveltavan kielitieteen tutkimuksia, no. 12 (April 16, 2020): 163–91. http://dx.doi.org/10.30660/afinla.84538.

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In this paper, we investigate the professional practices of hybrid artist-developers in contemporary working life. More specifically, we focus on a case where an artist instructs a theatre-based exercise in workplace training and study what kinds of skills it requires from the artist to act in this role outside the conventional art institutions. By utilizing the concept of sales work and investigating both the verbal and embodied resources in the design of the artists’ turn, we show how the position of the artist is both multifaceted and challenging. While inviting the audience members to participate in the exercise and directing its proceeding, the artist needs to constantly present the exercise in a favorable light – to “sell” it – as well as to reshape her actions according to the demands and turn-by-turn unfolding of the situation. We also show how the trainees can, for their part, regulate their participation in the exercise.

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Nimbley, Michael, and Catherine Bourgeois. "Presenting: Michael Nimbley." Canadian Journal of Disability Studies 10, no. 2 (October 8, 2021): 325–32. http://dx.doi.org/10.15353/cjds.v10i2.808.

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The following is the working script from Montreal-based artist Michael Nimbley’s presentation about his professional career. The script was co-created with his creative ally Catherine Bourgeois, the founder and artistic director of Montreal-based theatre group, Joe Jack & John. Joe Jack & John is a theatre company that produces original, bilingual, multidisciplinary shows combining video, dance, and the spoken word. Their artistic approach is deeply humanistic and inclusive; their creations represent a social microcosm by integrating professional actors with an intellectual disability or from diverse cultural backgrounds. During the time of VIBE, Nimbley was an artist-in-residence with the company. In establishing artistic residencies, Joe Jack & John are fulfilling their mission in a new way by inviting an artist living with a disability to initiate and direct a creation of their own. These residencies demonstrate a unique political stance. By handing power to an artist with an intellectual disability, they are furthering their research on marginalized aesthetics and voices. Their goal is to develop interdependent creative models and practices, promoting the emergence of underrepresented voices that have not been part of the dominant artistic trends. In doing so, they are disrupting aesthetic hierarchies and continuing to dismantle biases against artists who evolve outside the artistic establishment.

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Bronner, Shaw. "Removing Boundaries to Enhance Communication Between People." Medical Problems of Performing Artists 33, no. 4 (December 1, 2018): 292–93. http://dx.doi.org/10.21091/mppa.2018.4039.

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Regardless of your view of national or global politics, we are living through an era of toxic partisan rhetoric. From belligerent tweets on Twitter to “fake news” on Facebook and Instagram, where is this taking us? It is so easy to misunderstand a text and even an email. I’ve been thinking about the artists we work with and what we do in our professional lives. Performance is a form of communication between the artist and audience. The artist on stage can feel the unspoken response by the audience (even before there is or isn’t applause or boos). There is an energy, a connection.

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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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Murchie, John. "Here & there, now & agin regions end where countries begin." Art Libraries Journal 22, no. 4 (1997): 16–23. http://dx.doi.org/10.1017/s0307472200010622.

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‘A historical dictionary of artists in Atlantic Canada’ is the first attempt to systematically develop the contours of four hundred years of visual arts in Atlantic Canada since the hegemony of Western European civilization. The project entails the development of a data base of biographical and professional information on artists born prior to 1939 and the beginning of the Second World War who were active in the Atlantic Provinces of Canada — New Brunswick, Newfoundland, Nova Scotia, and Prince Edward Island. The definition of ‘artist’ has been as broadly defined as possible to include craft persons, photographers, architects nor has there been an attempt to limit the definitions to ‘professionals’. The data is stored in a ‘FileMaker Pro’ programme using a Macintosh computer.

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ALI, SHAHEID ANAD. "PROFESSIONAL TRAINING OF THE ARTIST IN DIFFERENT COUNTRIES." European Journal of Arts, no. 3-4 (2022): 28–31. http://dx.doi.org/10.29013/eja-22-3.4-28-31.

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Kuziv, Mykhailo, and Iryna Tiutiunnyk. "Artist of «troubled silence.» Mykola Bezdilny." National Academy of Managerial Staff of Culture and Arts Herald, no. 2 (September 17, 2021): 133–38. http://dx.doi.org/10.32461/2226-3209.2.2021.239991.

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The purpose of the article is to highlight the peculiarities of the paintings of the amateur artist of the period of socialist realism Mykola Bezdilny and to draw parallels with the professional art of the 1970s and 1980s. Methodology. Methods of systematization, art analysis, historical and comparative methods are applied. The scientific novelty is to identify the influence of centralized creative structures of the second half of the twentieth century for the self-realization of artists who acquired creative skills in their own way. In particular, the figure of the artist Mykola Bezdilny was chosen for the analysis as a bright representative of the amateur Ternopil region, who showed the ability to admire not only different genres and types of fine arts but also constantly analyze other interpretations of the painting, "try", "move" in technical and philosophical and aesthetic terms. The obtained results are important for further research of the problems of amateur and amateur fine arts in Ukraine. Conclusions. It is determined that M. Bezdilny, as a bright representative of socialist-realist amateur art, reached a high level of painting due to systematic work and interaction with professional painting. It focused on the true essence of the work, its depth, the transfer of harmony of nature, rather than the external beauty of the picture. Against the background of features that are characteristic of the work of many amateur artists and amateurs revealed a clear tendency of M. Bezdilny to his favorite plot, composition, constant change of sound of paint, attempts at impressionistic dynamic brushstroke, and complex color.

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Stong, Jesse. "Writing as a Tool for Transformation." Canadian Review of Art Education: Research and Issues / Revue canadienne de recherches et enjeux en éducation artistique 42, no. 2 (May 27, 2016): 41. http://dx.doi.org/10.26443/crae.v42i2.3.

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The author (Social Worker, Art Educator, Theatre Artist) discusses the creation and evolution of the Identity Writing workshop; a life writing exercise that helps students, artists, and teachers integrate their personal/political experiences of change into meaningful and authentic artistic expressions. Reflections stemming from the junctions between the author’s personal and professional lives provide compelling insights into moments of transformation through art-making. A simple writing activity is included for new, emerging, or established artists and creative teachers.

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Vinson, Kimberly. "Special Considerations for the Performing Voice: Perspective of the Laryngologist." Perspectives on Voice and Voice Disorders 23, no. 1 (March 2013): 7–14. http://dx.doi.org/10.1044/vvd23.1.7.

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One of the many tasks a laryngologist is assigned to is the care of the professional voice. When discussing professional voice users, it is natural to consider performing artists such as singers, actors, voice-over artists, and broadcasters. However, this patient population includes many more groups. Clergy, attorneys, politicians, teachers, sales and customer service representatives, and coaches also should be considered professional voice users because their careers and livelihoods depend on the quality of their voices. The professional voice user often is a reluctant patient because he or she fears the inability to perform or that treatment, especially vocal surgery, may permanently affect his or her voice in a negative fashion. Caring for these patients requires special attention to these fears, as well as their schedules and deadlines. In this article, I will consider the management of vocal dysfunction in the performing vocal artist.

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Anufrieva, Natalya I., and Ekaterina V. Bulkina. "Specifics of Formation of Professional Skills of Musical Theater Artists in College." Uchenye Zapiski RGSU 20, no. 1 (March 30, 2021): 189–97. http://dx.doi.org/10.17922/2071-5323-2021-20-1-189-197.

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Every year in Russia there is a growing number of people who want to devote themselves to stage professions. Pop and academic singer, actor of musical and dramatic theater, ballet dancer – here is an incomplete list of specialties that can be obtained in educational institutions of culture and art. The main task of these educational institutions is the professional formation of future stage masters, the formation of competencies that allow students to carry out further acting activities. The basis for the preparation of the future artist is the formation of stage skills, since this complex concept includes the internal (psychological) and external (physical) data of the actor, the possession of the art of reincarnation in the process of creating a stage image, the possession of stage freedom. The professional training of a musical theater artist in college becomes a multifaceted process, where the combination of vocals, dance, acting is aimed at solving the dramatic problems of a musical performance. The purpose of the article is to theoretically justify and identify empirically the specifics of the formation of professional skills of musical theater artists in college.

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Marnin-Distelfeld, Shahar, and Uri Dorchin. "“I AM NOT AN ARTIST, I MAKE ART”: AMATEURISH ARTISTS IN ISRAEL AND THE SENSE OF CREATIVITY." Creativity Studies 13, no. 1 (January 13, 2020): 64–86. http://dx.doi.org/10.3846/cs.2020.9907.

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This study deals with self-taught visual artists who are considered “amateurish” by the establishment of the Memorial Center in Kiryat Tiv’on, Israel, where they have exhibit their artwork. We will try to figure out both the explicit and implicit characteristics of “amateurish” artists, and challenge the supposed linkage between amateurism and lack of creativity. The methodology applied combines a sociological point of view, drawing on in-depth interviews with the artists, along with a visual analysis of the artwork produced. The theory of “modest” artists, by Marie Buscatto, and the theory of serious leisure perspective by Robert A. Stebbins, will contribute supportive classifications and categories for the analysis. We claim that the artists of our study are located on an axis between “amateurish” and “professional” within a fluid area of “serious leisure”. They are regarded as “amateurish” due to their lack of academic background in the arts, their relatively old age, having encountered lack of official recognition, having come across various obstacles in displaying their art and having received low remunerations. Aside from their marginal position in the art field, we were able to detect a few characteristics that distinguish their artwork from that of “professionals”. Our findings prove them to constitute an in-between category of “modest” or “serious-leisure-amateurish” artists, which blurs the dichotomy between “amateurish” and “professional” artists imposed by the establishment. We found these “modest” artists’ experiences to be creative, as well as some of their artwork; nevertheless, this kind of creativity seems to be disregarded by the establishment which perceives creativity as innovation.

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Alderson, Dawn, Lynne Bebb, and Carolyn Davies. "‘Patterned Palace’: A case study supporting the benefits of creative partnership within the Welsh Foundation Phase." Psychology of Education Review 33, no. 1 (March 2009): 29–36. http://dx.doi.org/10.53841/bpsper.2009.33.1.29.

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‘Patterned Palace’ is a case study that was developed in response to the current global interest that surrounds creative learning, and partnerships between artists and teachers in education. The case study involved a group of researchers (including a teacher, an education advisor, a professional artist and an academic researcher) working together to plan, implement and evidence the role and value of mark making during the creative learning process. The case study was conducted with a Key Stage 1 class, now superseded by the Foundation Phase in Wales. The aim of the study was to increase children’s creative learning experiences through their engagement with the concept of pattern and in particular to consider whether children’s communication of interpretations; generated understandings; reflective activity and ability to predict outcomes could be evidenced when partnered with a professional artist. Parallels between play and creativity are highlighted and the paper describes successful features of the collaborative partnership with reference to implementing the Foundation Phase in Wales.

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Talaskivi, Katri. "Ammattitaiteilijuus ja kirjailijana olemisen ehdot muunkielisten kirjailijoiden näkökulmasta." Kulttuuripolitiikan tutkimuksen vuosikirja 5, no. 1 (December 29, 2020): 6–25. http://dx.doi.org/10.17409/kpt.92259.

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In this article I describe the results of a questionnaire survey done on non-dominant language writers in Finland, and reflect this on the criteria by which a professional artist has been traditionally defined in Finland. The background data consists of reports and studies on artists' social standing conducted by Arts Promotion Center Finland, Cupore and the Finnish Writers' Union. There were 31 responses to the study from non-dominant language residents of Finland who identify themselves as writers. Among these writers, the most often mentioned factor to define a professional writer were published works. Published works have also been central when a professional artist / writer has been defined in the Finnish art support system since its beginning in the late 1960's and early 1970's, and indirectly they are important also when professionalism is defined through memberships of trade unions, grants, main income source etc. as in all these evaluation in based on work that has been approved as part of the art world, i. e published by a publishing house. According to this reflection, the Finnish way of defining a professional writer to a great extent excludes writers who are unable to publish their work on paper through commercial publishing houses, let alone in Finnish or Swedish. This is the case with most writers with refugee, assylum seeker or voluntary exile background, or writers who come from countries with a different publishing industry from the Finnish model, or whose audiences are spread in all parts of the globe; instead, they publish online for political, financial, or practical reasons. My article strengthens the argument that the Finnish institutionalist way of defining a professional artist needs to be modified, especially on the level of institutional practises, to meet the reality of a quickly multilingualized society.

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Sandu, Liviu-Adrian. "Importanţa figurativului în ultima sută de ani." Hiperboreea A1, no. 10 (January 1, 2012): 24–28. http://dx.doi.org/10.5325/hiperboreea.1.10.0024.

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Abstract In this article, I will present the postromantic movement, in the hopes that the the aesthetic future of art will belong to those artists who truly value the beauty consecrated for thousands of years by artistic talent. In my opinion, only artistic talent can make the difference between a dilettante and a true professional artist. I long to see the day when artistic value will be recognized, as it used to be, as the result of practical accomplishments not through the possession of a diploma or national ranking of art or resounding critical reviews. I believe that a true artist is not formed only in art schools. A true artist has, deep within his being, an intuitive combination of wish, dream and vision. This gift is only brought to fruition only by those who have the will of saints and the technique of the great masters.

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Kind, Sylvia, Alex de Cosson, Rita L. Irwin, and Kit Grauer. "Artist-Teacher Partnerships in Learning: The in/between Spaces of Artist-Teacher Professional Development [Abstract]." Canadian Journal of Education / Revue canadienne de l'éducation 30, no. 3 (January 1, 2007): 839. http://dx.doi.org/10.2307/20466665.

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Kopunova, Kseniya Sergeevna. "The rehearsal process in choreography as an aspect of creative integration." Философия и культура, no. 8 (August 2022): 1–8. http://dx.doi.org/10.7256/2454-0757.2022.8.38638.

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The subject of this research is the rehearsal process in choreographic art. The object of the study is the comprehension of this process as a creative integration of an artist and a teacher-tutor. The author examines in detail such aspects of the topic as the role of an artist, the preparation of a ballet dancer for a performance, gives examples of works of art that contribute to honing the professional skills of dancers. The author focuses on the importance of participation in stage practice during the years of study, which allows you to feel more confident on stage as a professional ballet dancer, and also points out the main contradiction – the time limitation on the preparation of the artist for the part and the need to demonstrate impeccable performance. The importance of this research is expressed in the fact that in modern education and tutoring work in the theater, such a phenomenon as creative integration is an important factor in achieving the goals set, namely in obtaining and maintaining the professional level of academic theaters. The result of the conducted research is the design of a model of modern training of artists to participate in performances of the classical repertoire, with a focus on preserving the choreographic text and heritage as a whole. The novelty of the research lies in a comprehensive approach to the characterization of the creative integration of a ballet dancer and a teacher in the process of preparing for a performance, determining the leading professional traits of dancers, the presence of which allows us to realize the task of creating a high-quality product of joint activity of the performer and the teacher-tutor.

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Revenok, Natalia. "SCIENTIFIC RESTORATION OF WORKS OF DECORATIVE AND APPLIED ART IN THE SYSTEM OF HIGHER ART EDUCATION." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 30 (December 9, 2021): 92–106. http://dx.doi.org/10.33838/naoma.30.2021.92-106.

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Abstract. The article is devoted to the issues of scientific restoration of works of decorative and applied art in the system of art education at the National Academy of Fine Arts and Architecture. The processes of formation and improvement of the experience of the artist-restorer for the preservation of historical and cultural monuments are defined. The importance of solving the cultural and professional development of the future artist-restorer in the field of restoration of works of decorative and applied art is emphasized. The topic studied by the author raises a number of issues of the methodology of studying works of decorative and applied arts in the research work of future artists-restorers. The purpose of the study is to develop and substantiate basic theoretical knowledge in the field of research, restoration, conservation and storage of works of decorative and applied arts from metal, ceramics and organic materials. Training of restoration specialists is carried out in various educational and scientific institutions of Ukraine. At the present stage of development of scientific restoration, this industry needs innovative approaches and updating of old methods. Thus, at the National Academy of Fine Arts and Architecture you can get a specialty artist-restorer of monumental painting, artist-restorer of sculptures and decorative arts from metal, ceramics, organic materials (fabrics, leather and bone). Restoration occupies the most important place in museum work and combines a set of knowledge and skills that provide storage of works of art made of metal, ceramics and organic materials. Disciplines on the restoration of sculpture and works of decorative and applied art are part of the training of specialists in the specialty «Restoration of works of art» within the acquisition of practical skills in research, restoration, conservation and storage. Training of future artists-restorers in the system of higher professional education taking into account modern requirements of conservation and restoration is based on such principles as scientific, connection of theory with practice should be carried out on authentic monuments — museum exhibits that promotes formation of professional competences, acquisition of professional experience, responsible attitude to historical and cultural monuments. The obtained results deepen the idea of research methods, restoration and conservation of works of decorative and applied arts from metal, ceramics and organic materials. Theoretical provisions are important at the problem-theoretical level, because the training of restorers requires a strong scientific and methodological base.

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Sorathia, Vikram. "Artist-Centric Professional Music Data Curation Service on ProMusicDB.org." Music Reference Services Quarterly 20, no. 1 (January 2, 2017): 54–56. http://dx.doi.org/10.1080/10588167.2016.1272354.

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Walter, Helen Margaret. "Artist, Professional, Gentleman: The Actor’s Offstage Portrait (1875–95)." Visual Culture in Britain 16, no. 3 (September 2, 2015): 267–84. http://dx.doi.org/10.1080/14714787.2015.1041799.

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Richmond-Cullen, catherine. "THE EFFECT OF AN ARTIST-IN-RESIDENCE PROGRAM ON SELF-REPORTED LONELINESS IN OLDER ADULTS." Innovation in Aging 3, Supplement_1 (November 2019): S53. http://dx.doi.org/10.1093/geroni/igz038.208.

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Abstract The study, funded by the Pennsylvania Council on the Arts and the Pennsylvania Department of Aging, measured the effect that an artist in residence program (conducted by state-vetted professional teaching artists) had on self-reported loneliness in older adult. All participants were aged sixty years or older and participated in programming in state-funded adult community centers located in fourteen sites throughout the Commonwealth of Pennsylvania. Artists offered 10 sessions in creating and critiquing art to older citizens in the artists’ respective art forms including performing arts, visual arts and multidisciplinary/interdisciplinary arts. Through pre and post-tests, changes in loneliness were measured using the Revised UCLA Loneliness Scale. The data revealed that there was a significant correlation between a self-reported decrease in feelings of loneliness and participation in a program conducted by professional artists. . It was proposed that findings from the study could influence the quality of programs provided by state-funded adult community centers in Pennsylvania and increase funding levels to adult community centers throughout the Commonwealth of Pennsylvania.

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Watkin, Jessica A. "Sending Care from Afar." Theater 52, no. 2 (May 1, 2022): 33–47. http://dx.doi.org/10.1215/01610775-9662208.

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Jessica Watkin works out her definition of Disability Dramaturgy and explains her artistic practice, which is rooted in personal care rather than professional extraction. As a Blind/Disabled artist, Watkin describes her relationship to Blind artist Alex Bulmer. Watkin reflects on the role of care in Bulmer’s Pandemic Postcards project, a series of twenty-one video “postcards” by Disabled artists around the world, hosted by the Harbourfront Centre in Toronto, Ontario. Watkin discusses the originating gesture of the project, a series of posts on Bulmer’s Facebook page titled Postcards from my Balcony, begun in March 2020 when the COVID-19 pandemic arrived in Toronto. As emanations of a care-based writing practice, these entirely textual “postcards” include image descriptions, written messages, and voice memos.

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Ezhova, Elizaveta A. "Choreographic preparation as a component of the musical artist’s professional education." Vestnik of Saint Petersburg State University of Culture, no. 2 (47) (2021): 133–37. http://dx.doi.org/10.30725/2619-0303-2021-2-133-137.

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Musical is one of the most colorful types of dramatic art. The harmonious combination of vocal, dramatic and choreographic performance enables you to immerse the viewer as much as possible in the era and plot of the performance. It is necessary to receive high-quality professional training in the field of vocals, acting and choreography in order that the actor could skillfully express the character and right emotions from a scene to the auditorium. There are various programs and technologies for preparing a musical artist and a musical theater artist in the modern Russian system of education. The article analyzes the amount of time allocated to the main disciplines in the training program of the «Musical Actor.» Basically, a significant skew goes towards acting, although the profession of a musical artist implies ownership of all components equally. The emphasis is mainly on acting, although the profession of a musical artist implies the possession of all components equally. The role of choreography in the preparation of the musical actor is not sufficiently considered and does not allow making educational process effective and full-fledged. The author of the article proposes methodological recommendations for synthesizing vocal and choreographic performance, which is an important aspect in the preparation of the musical actor

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Shokorova, Larisa. "ON SKILLS SET OF AN APPLICATION ARTIST IN ENVIRONMENT OF A NEW SOCIAL DEMAND." Proceedings of Altai State Academy of Culture and Arts 4 (2020): 50–55. http://dx.doi.org/10.32340/2414-9101-2020-4-50-55.

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The paper outlines the author’s view on problems in teaching of application artists in the modern Russian higher education caused by today’s social, cultural and economic conditions and challenges. Reasons for unpreparedness of graduates of institutions of higher education to independent creative labor are called. A circle of knowledge and skills that are fundamental for a professional application artist-to-be are named in the article. It is shown that widened knowledge of visual skillfulness, technical aesthetics, methods and technologies of materials handling as well as developed artistic thinking and imagination help to create new images of the reality. Also, the paper reveals ways of building students’ professionally significant skills that are consists in wake-up task-oriented cognitive activities through life drawing, copying examples of folk art.

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Ilczuk, Dorota, and Anna Karpińska. "The Labour Market of Artists. Free, But Not Wild." Kwartalnik Ekonomistów i Menedżerów 50, no. 4 (November 19, 2018): 159–70. http://dx.doi.org/10.5604/01.3001.0013.0632.

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The authors present a summary of previous research projects in the field of professional situation of artists in Poland. They refer to the conducted research of the Labour Market of Artists and Creators in Poland as well as the expertise of “The Support for Artists and Creators. International Perspective”. They also present their vision of a support system for creators and artists, which comprises: the monitoring and analysis; the status of an artist; remuneration (government programmes and potential mechanisms to stimulate demand; taxes; copyright law); insurance; foreign promotion of artists; the organisation of the labour market of artists and adjusting education to its requirements. Finally, they refer to the presentation delivered at the conference “Creative Economy in Poland, Facts and Myths”, organised by the Creative Economy Research Center of SWPS University. The main postulate proposed by the authors is to create a platform for constant monitoring and analysis of the professional situation of artists in Poland, to which the project of estimating the number of artists, creators and performers should lead.

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Stakhevych, Halyna, and Natalia Kokhan. "Creativity of female artists in Italian fine arts of XV–XVII centuries." Culturology Ideas, no. 22 (2'2022) (2022): 46–62. http://dx.doi.org/10.37627/2311-9489-22-2022-2.46-62.

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The article provides an overview and reveals the features of the professional formation, development and social status of female artists’ creativity in the Italian fine arts of the XVI-XVII centuries. The value of their artistic heritage for future generations has been established. It was stated that the role of a female artist in society was influenced by both social and gender factors, in particular, the fact that the profession of a master artist was assigned to men, and the teaching of art to girls was related to obligatory household chores or hobbies. It has been proven that already in the XV century, artists appeared in Italy whose activities went beyond these boundaries. Initially, they were self-taught nuns, such as Catherine of Bologna, but by the end of the century, the work of female artists acquired a professional character (for example, Pr. de’Rossi). It is noted that, since that time, works of art by female artists have influenced the change in social stereotypes about their work. It was found that Italian female artists of the Renaissance and subsequent centuries turned mainly to the genres of portrait, landscape and still life. However, there are cases of creation of monumental works (Pl. Nelli) or reflections of dramatic events (A. Gentileschi). It was revealed that by the beginning of the XVIII century in these genres, female artists were in full competition with men and were the inventors of both new genres (S. Anguissola) and new painting techniques (R. Carriera). There is also a manifestation of their author’s vision in compositions on religious themes, on historical and mythological themes. It has been proven that the achievements of Italian female artists of the XV–XVII centuries were no less significant than those of male artists.

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Kummerfeld, Rebecca. "Ethel A. Stephens’ “at home”: art education for girls and women." History of Education Review 44, no. 2 (October 5, 2015): 203–18. http://dx.doi.org/10.1108/her-04-2013-0013.

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Purpose – The purpose of this paper is to explore the professional biography of Ethel A. Stephens, examining her career as an artist and a teacher in Sydney between 1890 and 1920. Accounts of (both male and female) artists in this period often dismiss their teaching as just a means to pay the bills. This paper focuses attention on Stephens’ teaching and considers how this, combined with her artistic practice, influenced her students. Design/methodology/approach – Using a fragmentary record of a successful female artist and teacher, this paper considers the role of art education and a career in the arts for respectable middle-class women. Findings – Stephens’ actions and experiences show the ways she negotiated between the public and private sphere. Close examination of her “at home” exhibitions demonstrates one way in which these worlds came together as sites, enabling her to identify as an artist, a teacher and as a respectable middle-class woman. Originality/value – This paper offers insight into the ways women negotiated the Sydney art scene and found opportunities for art education outside of the established modes.

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Malița, Ramona. "The Masks of the Commedia Dell’arte Depicted in the Paintings of Arcimboldo and Tiepolo." Analele Universității de Vest. Seria Științe Filologice 60, no. 60 (December 20, 2022): 25–41. http://dx.doi.org/10.35923/autfil.60.02.

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This interdisciplinary study (literature – painting) focuses on Italian carnival masks. As objectives, we propose a) to illustrate the aesthetic connection between the characters of the Commedia dell’arte and the allegorical portraits made by Arcimboldo and the painters of the Tiepolo artistic dynasty, and b) to highlight the dramatic character of the figures depicted in Mannerist paintings. We have identified some features of the carnivalesque character behind the mask, such as social and professional type, satirized human defects, and moral and physical qualities. Our critical working hypothesis is that, while one may encounter symbolic characters in literature, such as Orpheus, Narcissus, Prometheus, in the case of painting there are artists who place themselves differently concerning their art: homo contemplativus (the artist contemplating nature); homo faber (the artist whose art has a clear purpose); homo contentus (the artist admiring his own work). We have applied this interpretative framework, belonging to Rosario Assunto, to the carnivalesque characters of the Commedia dell’arte and to the allegorical characters created by Arcimboldo and Tiepolo.

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Orel, Dmitriy. "SYSTEMATIC TRAINING OF PROFESSIONAL CIRCUS ARTISTSБ (ACROBATS-VOLTIGERS AND AIR GYMNASTS ON THE CORDE-DE-PÉRIL) IN THE INSTITUTION OF HIGHER EDUCATION OF ART SPHERE". ART-platFORM 1, № 1 (14 травня 2020): 126. http://dx.doi.org/10.51209/platform.1.1.2020.126-140.

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The article outlines the possibility of a systematic principle of training a circus artist in today's conditions. The purpose of the study is to systematically review the training of the future professional circus artist − an acrobat and gymnast. The system of humanitarian, artistic, pedagogical, scientific and professional competencies is traced. The specificity and characteristics of the educational process in the circus industry are determined. The research methodology is based on the desire for an integrated approach to the study of circus culture of related art forms. In addition, empirical, descriptive, and general scientific methods of comparative analysis and synthesis are used. A The scientific novelty consists to identify the characteristic features of specificity and the training of a professional circus artist in genres − acrobatic voltage and air gymnastics on the cord de péril. The circus culture in the process of evolution is enriched with the modern interaction of the performing arts: from introducing stunt elements from sports acrobatics and gymnastics; contemporary theater, in particular acting and psychophysical training; neoclassical ballet school and popular youth styles in contemporary choreography with the borrowing of modern dance, jazz dance; plastic and facial aspects of the school of contemporary pantomime; circus genres − manual balancing, juggling, as well as the humanities and art cycle of instruction. The uniform load of the professional cycle in combination with the artistic and humanitarian opens up new opportunities in the preparation of a contemporary circus artist with professional skills. The emphasis on the student’s use while learning the great possibilities of modern technologies for independent work is electronic sites, video presentations, master classes, training and practical training, creative events create unlimited opportunities for becoming a professional circus artist in the modern labor market, both in Ukraine and abroad. Keywords: circus genres, acrobatics, gymnastics, voltige acrobatic, aerial gymnastics on the cord de parel, circus stunt, stage representation, circus number, choreography, pantomime.

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Ström Lehander, Karin. "Tyra Kleen." Approaching Religion 11, no. 1 (March 21, 2021): 174–83. http://dx.doi.org/10.30664/ar.100479.

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The Swedish artist and writer Tyra Kleen (1874–1951) was a professional artist and a constant traveller who had a great interest in different religious questions. This article describes her Symbolist artistry, her interest in Theosophy and her journeys to India and Asia.

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Adewumi, Kehinde Christopher. "From Apprenticeship to Freedom: An Analysis of Art Workshop Trends in Africa." African Journal of Inter/Multidisciplinary Studies 1, no. 1 (December 31, 2019): 97–108. http://dx.doi.org/10.51415/ajims.v1i1.816.

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This paper focuses on the dynamic trends in the establishment and operation of art workshops in Africa. Workshop here does not refer to the space in which an artist produces their work; rather, it connotes a collaborative and interactive platform on which artists come together as peers, regardless of age, gender, social status and professional qualification, to share ideas and/or produce art. Thus, several artists have, through such platforms, fostered professional relationships, pushed their creative boundaries, as well as encountered and explored new materials, techniques and contexts. However, fundamental changes have occurred over the years in the operational methodologies of these art workshops, from the colonial era to the contemporary period. Adopting the postcolonial approach, this paper examines the shift in the operational aim and approach of these art workshops. The paper also considers the creative implications of such shifts in trends.

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Adewumi, Kehinde Christopher. "From Apprenticeship to Freedom: An Analysis of Art Workshop Trends in Africa." African Journal of Inter/Multidisciplinary Studies 1, no. 1 (December 31, 2019): 97–108. http://dx.doi.org/10.51415/ajims.v1i1.816.

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Анотація:

This paper focuses on the dynamic trends in the establishment and operation of art workshops in Africa. Workshop here does not refer to the space in which an artist produces their work; rather, it connotes a collaborative and interactive platform on which artists come together as peers, regardless of age, gender, social status and professional qualification, to share ideas and/or produce art. Thus, several artists have, through such platforms, fostered professional relationships, pushed their creative boundaries, as well as encountered and explored new materials, techniques and contexts. However, fundamental changes have occurred over the years in the operational methodologies of these art workshops, from the colonial era to the contemporary period. Adopting the postcolonial approach, this paper examines the shift in the operational aim and approach of these art workshops. The paper also considers the creative implications of such shifts in trends.

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