Academic literature on the topic 'Established artists'
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Journal articles on the topic "Established artists"
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Winter, Isabel Elisabeth. "Rethinking Social Norms Through Performance Art." Journal of Extreme Anthropology 1, no. 2 (2017): 59–62. http://dx.doi.org/10.5617/jea.5440.
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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 focuses on the role of performance art in challenging established social norms and the work of the Austrian artist Michael René Sell.
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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 (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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Wali, Muhammad Ayub, Salman Amin, and Muhammad Rehman. "Impact of Social Media in Adoption of New Trends of Visual Arts: A Case Study of Established Visual Artists in Twins Cities." Global Mass Communication Review V, no. II (2020): 20–33. http://dx.doi.org/10.31703/gmcr.2020(v-ii).03.
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This study has investigated the problem of finding the impact of social media in adoption of new trends of visual arts on established visual artists of twin cities and also how social media facilitates in disseminating new techniques of visual arts among the art practitioners. The aims of the research were to investigate the impact of social media in adoption of new trends of visual arts among established visual artists, and also to evaluate the existing techniques of visual arts through diffusion innovation model among the established visual artists. The researcher has conducted interviews of established visual artists, questionnaires were also furnished. The stakeholders were practicing field visual artists (studio based) and visual art educators (art teachers). The result concluded from the present study was that adoption of social media has a positive significant relation with adoption of new trends of arts and impact on the skills of artists whereas adoption of social media has a negative but significant relation with use of social media.
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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 (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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Behiery, Valerie. "Muslim Women Visual Artist’ Online Organizations." HAWWA 13, no. 3 (2015): 297–322. http://dx.doi.org/10.1163/15692086-12341284.
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This study examines two American online organizations established as networks of support for Muslim women artists: Muslim Women in the Arts (mwia) and the International Muslimah Artists’ Network (iman). While the broader context is to explore the intersections of three important identity markers, namely, gender (woman), occupation (artist) and religion (Muslim) often overlooked in identity theory (Peek 2005), the more specific aim is to probe the effects of these digital culturescapes on Muslim women’s artistic agency and success. The data collected from interviews with member artists confirm the necessity of such organizations, offer suggestions on how they could be improved and outline the difficulties they face due to their largely volunteer and online nature.
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Winslow, Margaret. "Aesthetic Dynamics, Inc. Presents: Afro-American Images 1971." Journal of Curatorial Studies 8, no. 2 (2019): 184–204. http://dx.doi.org/10.1386/jcs_00003_1.
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Abstract In February 1971, the artist collective Aesthetic Dynamics, Inc. presented its first major undertaking: an exhibition of over 130 works of art by 66 artists. Organized as a memorial to the late James A. Porter, Afro-American Images 1971 was presented at the National Guard Armory in Wilmington, Delaware. Many of the artists who participated in the show were well-established nationally; however, the location and inclusion of many artists known only to the local community resulted in the marginalization of this significant exhibition. In 2021, the Delaware Art Museum will restage the exhibition as a collaborative curatorial partnership with past and currents members of Aesthetic Dynamics, Inc. in an effort to counter this historical amnesia. Restaging as a curatorial methodology is a constructive means through which to aid in the recovery of the 1971 project, its archival record and its significance locally and nationally.
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Lai, Linda Chiu-han. "Contemporary “Women’s Art in Hong Kong” Reframed." positions: asia critique 28, no. 1 (2020): 237–74. http://dx.doi.org/10.1215/10679847-7913132.
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This article is a report of an ongoing performative research project conducted by the author in the capacity of an experimental historian–cum–fellow artist to the research subjects. Performative research is meant to be deconstructive: enacting the “what-if-we-talk” point of departure, the researcher and her subjects reopen established conclusions and definitions and examine (rules of) inclusions and exclusions in the local art paradigm. The main tasks and methods that form the performative research are (re) naming, inscription, dialogues, and thick description. The author engaged female artists in conversations to solicit their self-portrayal as artists, or not; the importance of womanhood to their life and art making; and their use of feminism. The exchanges with six artists discussed here reveals the complex positions Hong Kong women occupy in sustaining artistic creation and innovation in Hong Kong, which reopens such questions as what is an artist and what is art making. This research supports a picture of art as being more about the process and the here-and-now moment than the final art object. Women’s art as a research framework productively points to a pervading mode of artistic practice that highlights collaboration, networking, and the making of relations, events, and situations. This performative approach also invokes all artists to become theory makers of their own practice.
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Wildgoose, Jane, and Roelof Bakker. "Strong Room: Material Memories and the Digital Record." European Journal of Life Writing 7 (March 28, 2018): C1—C16. http://dx.doi.org/10.5463/ejlw.7.234.
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Strong Room, by the artist and researcher Jane Wildgoose and the artist Roelof Bakker, was published in 2014 by Negative Press London, a small press established by Bakker with the aim of initiatiing collaborations in print between artists and writers. Strong Room mixes photographs showing traces of preserved past human activity with writing, which highlights the loss of tangible experience and lack of physical presence in the digital world. Reflecting on the aesthetics of abandoned workspaces and the historical and academic importance of paper-based archives, Bakker and Wildgoose explore the potential for perceptions of materialiy to prompt the imagination and evoke memories. In this article, the artists reflect on a range of subjective responses to archives and archival materials and discuss the background to their collaborative approach to developing the book: presenting a selection of Bakker's photographs together with extracts from the accompanying essays in Strong Room.
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OLLIVIER, MICHÈLE. "Snobs and quétaines: prestige and boundaries in popular music in Quebec." Popular Music 25, no. 1 (2006): 97–116. http://dx.doi.org/10.1017/s0261143005000723.
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This paper is a study of prestige and boundaries in Quebec French-language popular music. Based on interviews with artists, producers and critics conducted in the early 1990s, I argue that popular music in Quebec at that time remained divided along a symbolic boundary established in the 1960s between a highly prestigious group of songwriters/rock artists, who wrote and sang their own material, and a less prestigious group of interpreters/artistes populaires, who sang light pop songs or songs written by others. As predicted by Bourdieu, I show that artists in the most prestigious category were associated with privileged social groups and gained material and symbolic advantages from their prestige. They are more likely to receive honorific awards, to be invited to perform at special cultural events, to see their work recognised as ‘important’, and to persist over time. In opposition to Bourdieu, however, I argue that in the context of emerging nationalism, their songs were also perceived as providing collective benefits over and beyond class and gender divisions.
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Дорофеенко, Марина. "Имена деятелей культуры в урбанонимии Беларуси и Франции". Studia Wschodniosłowiańskie 20 (2020): 199–206. http://dx.doi.org/10.15290/sw.2020.20.14.
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In the article anthroponymic urbanonyms of Vitebsk and Reims derived from the names of artists are analyzed. The main lexico-semantic groups of these proper names have been established: urbanonyms, formed from the names of writers, poets, literary critics; artists, architects, sculptors; actors, directors, playwrights; musicians, composers. Similarities and differences in the functioning of Belarusian and French urbanonyms, given in honor of artists, have been revealed.
Dissertations / Theses on the topic "Established artists"
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Camino, Minacha. "An investigation into the writings of established art and design practitioners as a useful model for the Critical Research module of the Art and Design B.A. (Hons) Course." Thesis, University of Manchester, 2015. https://www.research.manchester.ac.uk/portal/en/theses/an-investigation-into-the-writings-of-established-art-and-design-practitioners-as-a-useful-model-for-the-critical-research-module-of-the-art-and-design-ba-hons-course(7852f0ed-826f-46bb-98fc-6e5d2e216615).html.
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The requirement for a written element in the B.A (Hons) Arts degree has been in place since the Coldstream Report of 1960. Since that time, there have been discussions, scholarly articles and further government committees addressing the way that this component is delivered by universities and colleges. These discussions centre on the content, the assessment of the content and its relationship to students' own practice. There are many divergent views about how the subject, variously called contextual, critical or complementary studies, should be presented by the students in a way that has academic rigour and enhances studio practice. However, I have identified a gap in that literature: there also is a rich history of artists and, more recently, designers writing about their own and others' practice. I sought to establish whether or not the writing of established practitioners could be useful in improving students' own efforts and encouraging a synthesis between the written work in their final year journals, (an alternative to the traditional dissertation) and their studio practice. The methodology that seemed most appropriate was an instrumental case study, with data from interviews (transcriptions), text analysis and analytic induction of the writings by established practitioners and the students' writings about their own work and the work of others. Experience and by now conventional practice suggests that all students refer to the work of established practitioners, not always from their own chosen discipline. Although the students are not necessarily asked to research and write about other established practitioners, inevitably they will do so to engage with, identify and contextualise theory and history. There was a general lack of understanding about the complexities of the intended learning outcomes and, importantly, the sub-assessment criteria that was realised to be more difficult to explain and understand than the more traditional, essay method of the dissertation. This difficulty was mainly owing to the students' lack of experience in critical thinking and poor research skills when writing about their own work. The task for third year students was burdensome for some, but easier for those students who had critical studies embedded in their studio practice. In only one discipline were the tutors optimistic about the abilities of their students to understand the criteria and therefore likely to be successful in the assessment of the journal. This finding was mirrored in their students' responses. The lack of interest and wide knowledge of some tutors in comparison with other colleagues lead to a tension between what is currently learnt in the studio and what is learnt from non-studio teaching. I explored the relevant writings using the three themes of production, content and consumption. A comparison between students' and established practitioners' writing, using the criteria for the intended learning outcomes for the critical studies module, found that there were both some similarities and some important differences. On the basis of the evidence, the journal could provide the students with a more insightful understanding of their studio practice if there is: • A revision of the assessment criteria, using the saturation points of established practitioners writing in my analysis tables; • Much greater fostering of interest into the reading of established practitioners' writing; and• A team of tutors who are able and willing to teach critical studies/research alongside the studio work. These findings have implications for the training of the staff as well as the structure of the degree courses in art and design.
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Flynn, Emma. "Building careers, managing capitals." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/9393.
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I sought to find out whether this was a tension between artistic and commercial in the career of visual artists, and if so, how this tension was managed. In attempting to uncover information which could address the research question I undertook in-depth career history interviews with artists which covered their time at art school through to their current practice. The career history method was deliberately chosen in order to address the research question at a tangent as both the literature, and my own personal experience of the field of contemporary visual art, had suggested that the topic of artistic and commercial was a sensitive one. By framing the interviews around the experiences the artists had through the time period of their training and career, I was able to approach the research questions indirectly from the perspective of the artists. Through analysis of the interview transcripts the framework of Bourdieu's capitals arose as one that would capably explain the activities which the artists were undertaken and I used this as a framing device for the empirical chapters in the thesis. In exploring ideas of cultural, social and economic capitals in relation to how artists describe the activities they undertake during their career it became apparent that the broad structures of cultural capital needed further refinement in their application to the careers of visual artists. In the thesis I chose to elaborate further on the concept of artistic capital which has, until now, been unexplored by scholars. I have developed an understanding of artistic capital as a subcategory of cultural capital with particular application to the field of contemporary visual art – with the potential for wider application beyond the thesis. The three capitals of artistic, social and economic proved a capable structure for understanding whether there was a tension between artistic and commercial and how artists managed this. Through this research I have found that artists come to believe, during their early career and training through art school, that there is a tension between artistic and commercial as this is perpetuated by institutions and art world participants through their exclusion or dismissal of commercial aspects of the visual art field. Through their careers they come to realise that this tension is less prevalent than they thought and that they are able to manage these two aspects of artistic and commercial more effectively. However, artists continue to be faced with instances where this tension is imposed upon them by other art world players who perpetuate the belief that there is an inherent, unresolvable tension between artistic and commercial. These individuals attempt to shield artists from this perceived tension later in their careers when artists are already adept at managing the competing priorities of artistic and commercial without the two creating tension.
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Meira, Denise Araujo. "O guarda cultura Franklin Joaquim Cascaes: o outsider/estabelecido." Universidade Presbiteriana Mackenzie, 2013. http://tede.mackenzie.br/jspui/handle/tede/2072.
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Previous issue date: 2013-08-26<br>Universidade Presbiteriana Mackenzie<br>Taking into account that researchers who study Franklin Cascaes work and life dissociate the artist from the professor, I have chosen his life trajectory, as an artist and as a professor, the object of analysis. The importance of such choice lies on the fact that his work as an artist/professor is almost unexplored in the academic literature, especially, from the point of view of his lack of traditional formal education. So, the aim was to show that there was a Franklin before and after his own autobiographical narratives, where he portrays himself as an outsider. Thus, the research was carried out through the examination of his academic works, autobiographical fragments, notes on his academic daily life, letters sent to journalists and politicians, interviews, photos, magazines, as well as his drawings, sculptures, and stories. All of these documents have provided hints of who Franklin Joaquim Cascaes was. This thesis departs from the common principle of the Elisian studies about the relationship between the individual and the society (especially in the case of Mozart, which prompted Nobert Elias to observe the possible forms of relationship, while studying the man), in order to understand Franklin Cascaes within the limits and possibilities of his own time. The opposition between the concepts of outsider and established were crucial in the analysis of Franklin s trajectory. These concepts are seen within an approach that embraces him as a deviant artist and professor. Thus, this work is divided into three sections, which one aiming at answering the following working question: how social tensions work on individual trajectories? In the first section, that covers Franklin s trajectory up to 1948, I analyses different factors in the experience of the man that have contributed to the construction of his mission: to keep up the culture of the inhabitants of the Isle of Santa Catarina. In the second section I try to understand the limits and the possibilities for him to carry out his project, taking 10 into consideration the determinants from the environment over his trajectory. Furthermore, I try to understand the strategies used by Franklin to face the rules and the attitudes that were imposed on him in the Escola Industrial as a professor and as an artist in the city of Florianópolis. In the last part I question how it was possible for the Museum Oswaldo Rodrigues Cabral of Archeology and Ethnology to keep up with Franklin s work of art. I also analyses the creation of other places devotes to his memory. In both cases, I have identified the strategies used for the recognition of the importance of Franklin as a catarinense artist. If the condition of established/outsider illuminates the power relations of a social dimension, defined by values, such as recognition, belonging, and exclusion, in the 1970s Franklin Cascaes begins to participate of spaces in the past open only to those who had an academic degree or a privileged social condition, the established. It is in the local political and social context of those years that the açoriana identity turned into a strategy for the invention of a city , which desired to become a tourist site. In 1977, the researcher and paranaense arts critic, Adalice Maria de Araujo, in her thesis Franklin Cascaes, The Myth of an Island: myth and magic , turned the artist in the big wizard of the island of Santa Catarina. Franklin, appearing frequently at the pages newspapers, especially, the O Jornal, the main local paper, and with the help from the students of the Industrial at the town hall and at the Federal University of Santa Catarina (UFSC), was able to secure the keep up of his works by the Museum Oswaldo Rodrigues Cabral. It is in this atmosphere that Franklin goes from the condition of an outsider to the established one, although, in the following years, in different autobiographic narratives, he had never seen himself as such.<br>Partindo do pressuposto que ao tratar de Franklin Cascaes os pesquisadores que estudam a sua obra e vida, dissociam o artista do professor, foi eleita a trajetória do professor/artista como objeto de análise, sobretudo porque ela possibilitaria uma trajetória praticamente inexplorada nos trabalhos acadêmicos, sobretudo do ponto de vista de um professor/artista que não teve uma formação escolar tradicional. Objetivou-se, assim, mostrar que existe um Franklin anterior e um posterior as narrativas autobiográficas em que o mesmo busca representar-se como um sujeito outsider. Para isso, estudos acadêmicos, fragmentos autobiográficos, escritas do cotidiano escolar, correspondências enviadas a jornalistas e políticos, entrevistas, fotografias, revistas, bem como os desenhos, esculturas e contos por ele produzidos, foram tomados como documentos-monumento fornecendo indícios de quem foi Franklin Joaquim Cascaes. Parte-se do princípio comum aos estudos Elisianos sobre a relação indivíduo/sociedade, em especial o caso de Mozart, em que Norbert Elias estudando um indivíduo, espreita as formas de relações possíveis, buscando compreendê-lo dentro dos limites e das possiblidades do seu tempo. Os conceitos de outsiders e estabelecidos foram fundamentais na análise da trajetória de Franklin, na abordagem que o acolhe como um professor/artista desviante. O trabalho esta dividido em três partes, objetivando responder a seguinte questão: como as tensões sociais se operam em trajetórias individuais. Na primeira parte que compreende a trajetória de Franklin até 1948, analiso as diferentes experiências do personagem procurando identificar alguns fatores que contribuíram para a construção da sua missão: guardar a cultura dos moradores da Ilha de Santa Catarina. No segundo momento, busco compreender os limites e as possibilidades para a realização do seu projeto, levando em consideração as determinações do meio sobre a sua trajetória. Além disso, busco entender as estratégias utilizadas para Franklin fazer frente às normas e condutas que lhe foram impostas no espaço da Escola Industrial como docente e, na cidade de Florianópolis, como artista. Na última parte, problematizo de que forma foi possível a guarda da obra do professor/artista pelo Museu de Arqueologia e Etnologia Oswaldo Rodrigues Cabral. Problematizo, também, a criação de outros lugares de memória. Nos dois casos busco identificar as estratégias utilizadas para reconhecer a sua importância como artista catarinense. Se a condição de estabelecido/outsider ilumina relações de poder de uma dimensão social definida por valores como reconhecimento, pertencimento e exclusão, então, o professor e artista Franklin Cascaes, nos anos 70, passa a partilhar espaços antes só destinados aos portadores de uma formação acadêmica ou de uma condição social privilegiada, os estabelecidos. É no quadro social e político local, daqueles anos, que a identidade açoriana torna-se uma estratégia para a "invenção de uma cidade" que desejava se fazer turística. Em 1977, a pesquisadora e crítica de arte paranaense Adalice Maria de Araujo, na tese "Franklin Cascaes, o Mito Vivo da Ilha: mito e magia na arte catarinense", transforma o artista no grande bruxo da Ilha de Santa Catarina. Franklin, ocupando com frequência as páginas dos jornais, especialmente o Jornal O Estado, principal periódico local e; contando com o apoio dos alunos da "Industrial" na Prefeitura e na UFSC, consegue a guarda da sua obra pelo Museu de Arqueologia e Etnologia Oswaldo Rodrigues Cabral. É neste contexto, que Franklin passa da condição de outsider à de outsider/estabelecido, embora nos anos seguintes, nas diferentes narrativas autobiográficas ele não se perceba como tal.
Books on the topic "Established artists"
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Larasati, Balai Lelang. Indo European, modern masters & established artists of Southeast Asia. Larasati, 2011.
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Photoshop: Inspiring artwork and tutorials by established and emerging artists. Peachpit Press, 2013.
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Burr, Sherri. Entertainment law: Cases and materials in established and emerging media. West, 2011.
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Burr, Sherri. Entertainment law: Cases and materials in established and emerging media. West, 2011.
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Burr, Sherri. Entertainment law: Cases and materials in established and emerging media. West, 2011.
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Pagliaro, Annamaria, and Brian Zuccala, eds. Luigi Capuana: Experimental Fiction and Cultural Mediation in Post-Risorgimento Italy. Firenze University Press, 2019. http://dx.doi.org/10.36253/978-88-6453-916-4.
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Luigi Capuana: Experimental Fiction and Cultural Mediation in Post-Risorgimento Italy. The studies in this collection revisit established critical positions which confine Luigi Capuana’s work within the orbits of Naturalism and Positivism. A variety of theoretical readings in the volume investigate how the author’s experimentalism and eclectic interests respond to positivist ideology, the limitations of scientific practices, and the conflicts and anxieties of the fin de siècle which arise from a change in intellectual attitudes towards new ways of interpreting reality. The volume’s three sections focus on cultural mediation and the construction of socio-literary identities, gender representation and metaliterature, and on the author’s experimentation with the natural, supernatural and fantastic. Each section illustrates how the search for the new and experimentalism constitute driving forces in the author’s artistic investigation and production, making his work an important source for a new reading of the fin de siècle’s epistemological revision.
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Mishory, Alec. Artists’ Colonies in Israel. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190912628.003.0009.
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This chapter discusses the history of artists’ colonies in Israel. An artists’ colony is a physical site where artists are expected to work collectively, inspiring and influencing each other’s creative process. Artists’ colonies were in existence in Europe from the beginning of the nineteenth century. In Israel, such colonies were established during the first decade following independence. The first was a colony located in Safed, followed by Ein Hod and a colony in the old section of Jaffa. The establishment of artists’ colonies in Israel can be attributed to three figures: Marcel Jancu, Moshe Castel, and Itche Mambush. The chapter provides an overview of the artists’ colonies of Safed, Ein Hod, and Old Jaffa and examines why the various attempts to establish artists’ colonies in Israel did not fulfill their visionary manifestos.
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Adobe Master Class: Illustrator Inspiring artwork and tutorials by established and emerging artists. Adobe Press, 2013.
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Gover, K. E. The Artist and the Institution. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198768692.003.0004.
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This chapter analyzes the lawsuit between the Massachusetts Museum of Contemporary Art (Mass MoCA) and Christoph Büchel in terms of my dual-intention theory of authorship. The Mass MoCA case represents a significant challenge to the widespread art world intuition that the creative freedom of the artist should be given virtually absolute precedence in decisions about the creation, exhibition, and treatment of artworks. The chapter argues that this view is incorrect: respect for the artist’s moral rights does not require deferring to the artist’s wishes in every case. It shows that the distinction between artifactual ownership and artistic ownership that underlies the notion of artistic moral rights also serves to establish limits on those rights.
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van Haaften-Schick, Lauren. Conceptualizing Artists’ Rights. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780199935352.013.27.
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The Artist’s Reserved Rights Transfer and Sale Agreement (Siegelaub-Projansky Agreement) of 1971 and the certificates of early Conceptual art have been considered contradictory for enabling so-called “dematerialized” artworks to be exchanged as any other commodifiable work, thus negating Conceptual artists’ claims of challenging market and institutional conventions. However, an expanded lens on the life of the Siegelaub-Projansky Agreement in law yields another legacy for these endeavors, where the Agreement is instead evidenced as influencing artists’ rights laws in the United States, and where its rhetoric of collectivity can be viewed as a radical appropriation of private law in an effort to establish more equitable art industry norms. This reclaimed narrative of political influence emerges only when we recognize the capacity of these artistic documents as legal instruments, and consider how they have circulated through and challenged the limits of both fields they are cross-classified between: art and law.
Book chapters on the topic "Established artists"
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"The effects of brain damage in established visual artists." In Neuropsychology of Art. Psychology Press, 2013. http://dx.doi.org/10.4324/9780203759691-7.
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Everist, Mark. "Paris Imagines Gluck." In Genealogies of Music and Memory. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197546000.003.0003.
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The promotion of Gluck’s music between c1830 and c1870 was supported by interlocking networks of impresarios, publishers and vocal artists. The efforts of these agents overlapped directly with the performative undertakings described in the previous chapter, while literary and artistic figures established sites of Gluck reception independent of strictly musical enterprises.
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Viladesau, Richard. "The Cross in Modern Visual Art." In The Wisdom and Power of the Cross. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197516522.003.0004.
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This chapter looks at treatments of the cross in “fixed” images: painting and drawing, sculpture, and photography. The first part examines the cross in its traditional religious setting. Among the major artists covered are Maurice Denis, Georges Rouault, and Salvador Dalí. The second part surveys the use of the cross in secular settings. The crucifixion of Jesus here becomes a metaphor for the unjust sufferings of others: humanity in general; the artist; the Jewish people; persecuted groups like women or blacks; victims of political and social injustice; those oppressed by the church. The crucifixion also becomes an established artistic genre, without a particular message.
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Fenderson, Jonathan. "A Local Construction Site." In Building the Black Arts Movement. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042430.003.0003.
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This chapter provides an institutional history of the Organization of Black American Culture (OBAC), one of the most renowned African American artist collectives of the Black Arts movement. It recounts OBAC’s efforts to challenge Chicago’s established racial order and to reorient Black Chicago’s relationship to artistic production. It argues that OBAC pioneered several community-centered projects that served as hallmark modes of artistic practice within the movement while simultaneously helping to popularize the era’s burgeoning ideas. The group made Chicago an important epicenter of movement activity, attracting artists, activists, and intellectuals from around the world. At their peak, OBAC sparked a national intellectual debate over their creative philosophy of “a black aesthetic,” effectively polarizing arts discourse as it related to African Americans. Their growing popularity and heightened national profile generated a number of internal challenges, including intractable ideological and class contradictions, and tensions between individual professional aspirations and collective community engagement.
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Diaz, Ella. "The Art of Afro-Latina Consciousness-Raising in Shadowshaper." In Nerds, Goths, Geeks, and Freaks. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496827456.003.0007.
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Drawing on popular trends of zombies, magic, and superheroes in young adult fiction and blockbuster film franchises, author Daniel José Older presents Sierra Santiago, an Afro-Latina hero in Shadowshaper (2015) who combats local forces of cultural appropriation and gentrification in her Bedford-Stuyvesant neighborhood of Brooklyn, New York. This chapter focuses on the critical role of street art in her analysis of Shadowshaper and, specifically, the community muralists that, in the late twentieth century, established urban spaces as Latina/o and Chicana/o barrios. By positioning Sierra at the center of community muralism, Older disrupts the absence of Latina/o artists and, particularly female artists, by foregrounding moments of artistic processes throughout the novel, including descriptions of Sierra’s stream of consciousness as she makes art that reflects Afro-Latinidad.
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Bronisch, Thomas, and Flora von Spreti. "Art in suicide treatment and prevention." In Oxford Textbook of Suicidology and Suicide Prevention, edited by Danuta Wasserman and Camilla Wasserman. Oxford University Press, 2021. http://dx.doi.org/10.1093/med/9780198834441.003.0063.
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The theme ‘suicide’ in paintings mirror social, cultural, religious, and philosophical stances to suicide. However, behind these more public aspects of the artist’s work there is often a personal meaning. The motives and interests of the artists go beyond the theme of suicide. An important factor in suicidal behaviour is a depressive mood or disorder. However, the depressive mood as well as the underlying manic-depressive illness of some artists may be seen as an important prerequisite for their creativity. Despite the importance of suicidality in art and that art therapy is well-established for treating patients in psychiatry and psychotherapy, only a small body of empirical literature about the role of art therapy in depressed and suicidal patients exists. In paintings and sculptures of art therapy, done by patients primarily reflect the inner experiences of their illness and biography. Art therapy can help the patient to alleviate self-destructive ways of acting.
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Totten, Christopher. "Moving Forward by Looking Back." In Advances in Multimedia and Interactive Technologies. IGI Global, 2016. http://dx.doi.org/10.4018/978-1-5225-0477-1.ch010.
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This chapter explores art history to establish parallels between the current state of the game art field and historical art and architectural periods. In doing so, it proposes methods for both making and studying games that subvert the popular analysis trends of game art that are typically based on the history of game graphics and technology. The chapter will then demonstrate the use of art and design history in game development by discussing the Atelier Games project, which utilizes the styles and techniques of established artists and art movements to explore the viability of classic methods for the production of game art and game mechanics.
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Hobson, Maurice J. "The Sound of the Fury." In The Legend of the Black Mecca. University of North Carolina Press, 2017. http://dx.doi.org/10.5149/northcarolina/9781469635354.003.0007.
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Chapter six focuses on Mayor Maynard Jackson’s creation of the City of Atlanta’s Bureau of Cultural Affairs, the first institution within city government dedicated to the support of artists, their creative expressions and arts organizations. The goal of the Bureau was to make all forms of art—established and experimental—more accessible to Atlanta’s citizens. The Bureau empowered a multitude of artists and arts organizations through city funded grants and broke new ground in stabling a niche for black musical genres such as jazz and classical music as well as alternative films. This set the stage for Atlanta to boom in terms of black popular culture, as Jackson’s black political power yielded an expressive arm, a black arts movement unique to Atlanta, making it ripe for popular culture to be spewed and accessed critically. “Dirty South” rap music evolved out of this black arts movement, and opened black Atlanta to social commentary from a new generation of artists that lived in the underbelly trampled over by Atlanta’s pursuit of a global commercial center. This counter-narrative and demonstration, gave a southern perspective of popular culture spewed and assessed critically in the city. It was grounded in Hip-hop and centered on this particular sector of youth culture, the meanings and significance of a recently self-defined southern–style of rap and Hip-hop culture and was established and promoted by Organized Noize’s OutKast and Goodie Mob, rap groups hailing from Atlanta’s Southwest side. Their music imbibed an aesthetic that was particular to the South in general and Atlanta in particular but was consumed by markets nationwide. In this music, artists call out Atlanta’s black politicians and their governing practices. Using popular culture from Atlanta provides a useful scope through which to view the lingering tensions and trends that were particular to Atlanta as a result of the “Olympification” of the city.
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Cremins, Brian. "“A Fabric of Illusion”." In Captain Marvel and the Art of Nostalgia. University Press of Mississippi, 2017. http://dx.doi.org/10.14325/mississippi/9781496808769.003.0002.
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C. C. Beck was one of the most influential artists working in comics in the U. S. in the 1940s and 1950s. As the co-creator of Captain Marvel, he and his assistants worked on one of the best-selling comic book characters of the era. Later in his career, he also developed a reputation as a comics critic. In addition to his columns for The Comics Journal, he established the Critical Circle in the late 1980s, a group of friends, fellow artists, and fans with whom he shared his unpublished essays on the form. Like Will Eisner, Beck was significant as a cartoonist and as a theorist of comic art. This chapter explores how he applied those theories to his work, which is known for its narrative economy and simplicity.
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Dworkin, Ira. "Visual Cultures." In Congo Love Song. University of North Carolina Press, 2017. http://dx.doi.org/10.5149/northcarolina/9781469632711.003.0007.
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This chapter considers the significant influence of William Sheppard on U.S. visual culture. In 1890, soon after he arrived in the Congo, he expresses his intent to collect Congolese artifacts, mostly Bakuba, for Hampton’s “Curiosity Room,” which was the basis for its renowned art museum. In the early 1940s after Viktor Lowenfeld established the Hampton art department, John Biggers, Samella Lewis, Elizabeth Catlett, Charles White, and other artists, who were students or teachers there, studied Sheppard’s textile collection. In particular, the color palette and geometry found in Biggers’s work recall both African American quilts and Bakuba textiles, indicating that, beyond political topics, Sheppard’s influence includes a wide aesthetic vocabulary. Twentieth-century African American visual artists developed an innovative cultural practice based on their immersion in a collection whose provenance links it to the movement for reform in the Congo.
Conference papers on the topic "Established artists"
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Wright, Dr Angela. "Artist Graduates: Are they ready to do Business?" In HEAd'16 - International Conference on Higher Education Advances. Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/head16.2016.2493.
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Businesses must expose their products and services to customers so as to make sales and be heard. The world of the artist[1] is no different, and, in the words of the late Luciano Pavarotti, the artist must ‘be heard and be seen’. The aim of this paper is to examine if there is a need to ensure that our artistic graduates are ‘market ready’. The paper specifically examines this concept in the context of an Irish Institute of Technology (IT). Artists generally do not view the world in terms of business &amp; commerce, only as a creative space. This research study investigates if there is a need for a special purpose award that would allow already qualified or working artists who have missed out on business education to take business modules at any stage in their careers. The findings in this study are rich and the attitudes to the business world by participating artists are interesting. Having established that artists need some business education, this paper then proceeds to outline what may be needed now, and in the future. Keywords: Artist, Musicians, Business Education, Business World. [1] For the purpose of this paper, the term ‘artist’ is deemed to refer to both performing and visual artists.
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McCarthy, Steven J., and Ian Scott. "The WR-21 Intercooled Recuperated Gas Turbine Engine: Operation and Integration Into the Royal Navy Type 45 Destroyer Power System." In ASME Turbo Expo 2002: Power for Land, Sea, and Air. ASMEDC, 2002. http://dx.doi.org/10.1115/gt2002-30266.
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The WR-21 gas turbine engine will be employed by the Royal Navy and potentially by the United States and French Navies in their future Integrated Full Electric Powered Surface Combatants. The Intercooled Recuperated (ICR) advanced cycle means that in a Warship power system a single WR-21 engine sits on the throne of the realm that traditionally would have been occupied by two gas turbine engines, one for ‘cruise’ and one for ‘boost’; not forgetting that it is also doing the job of at least two diesel generators in our traditional example. This performance will provide Warship operators with an unprecedented opportunity to configure the Warship propulsion plant to return exceptional Platform Life Cycle Cost reductions in peacetime while retaining warfighting operational capability in time of conflict. The Royal Navy is the first user of the WR-21 ICR gas turbine engine in its Type 45 Air Defense destroyer, an artists impression of which is shown in Figure 1. The vessel is a 7500 tonne monohull, fitted with an integrated electric propulsion plant comprising two WR-21 Gas Turbine Alternators (GTAs), the prime mover side of which is capable of delivering 25 MW (ISO) and the Alternator side of which is rated at 21.6 MWe (0.9 pf lagging), 4.16KV. These GTAs in combination with a pair of diesel generators rated at around 2 MWe (0.9 pf lagging) will provide electrical power to two 20 MWe (0.9 pf lagging) 4.16 KV electric propulsion motors and to the ship’s non propulsion consumer electrical distribution system. Any combination of generator set can provide any consumer with electrical power. In their crudest form any generator set that forms part of the Type 45 power system may be simply regarded as Mega Watts towards the installed power total. The division of priority and delivery of power to meet the Command’s requirements will require skilful and subtle engineering of the control systems that will be used to operate the power system and precise definition of the operating philosophy and principles for the platform. In a Warship that has only four sources of electrical power the principles of survivability and prime mover independence are fundamental. The limitations of operating electrical generation machinery are established. This paper examines how the WR-21 will be capable of providing power to the Command of the Type 45 as an integral part of the Warship power system in all states of operational readiness for war.
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Chacón, José Luis. "El lugar del arte en arquitectura. Los “lieux porte-voix, porte-paroles, haut-parleurs” de Le Corbusier en su discurso del Convegno Volta, 1936." In LC2015 - Le Corbusier, 50 years later. Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.810.
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Resumen: En 1936 se celebró en Roma el Convegno Volta dedicado a la relación entre arquitectura y las artes figurativas. Entre los participantes estaba Le Corbusier quien presentó una ponencia donde claramente explica los fundamentos del lugar del arte en arquitectura, aspecto clave de su posterior Synthèse des arts. Luego de un manifiesto sobre la Arquitectura Moderna, Le Corbusier afirma que en ocasiones excepcionales puede darse la “colaboración” entre arquitectura y arte con el fin de “aumentar el placer de los hombres”. Dirige su atención a la pintura, la escultura y el diseño; y plantea como respuesta la policromía y los puntos “precisos y matemáticos” donde el artista “fuerte y digno” puede hablar y hacer sentir su discurso. Estos lugares del arte son comunicantes: “lieux porte-voix, porteparoles, haut-parleurs”; aun inexistentes entonces pero que se verán realizados años después, en la idea de la Synthèse des arts. Abstract: In 1936 the Convegno Volta took place in Rome and it was dedicated to discuss the relationship between architecture and the figurative arts. Among the participants there was Le Corbusier, who presented a speech where he clearly establishes the fundamentals of the place of art in architecture, a key point in his later Synthèse des arts. After a manifesto of Modern Architecture, Le Corbusier states that in certain exceptional cases there can be “collaboration” between architecture and art, with the scope of “increasing human pleasure”. His attention is placed upon painting, sculpture and design; and as a response he proposes polychromy and “precise and mathematic points” where a “strong and worthy” artist can speak and let his discourse be felt. These places are communicative: “lieux porte-voix, porte-paroles, haut-parleurs”. Although inexistent then, they will be materialized years later in the way of the idea of the Synthèse des arts. Palabras clave: Arte, Arquitectura, Convegno Volta, Le Corbusier, Síntesis de las artes. Keywords: Art, architecture, Convego Volta, Le Corbusier, Synthesis of the arts. DOI: http://dx.doi.org/10.4995/LC2015.2015.810
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Ringendahl, Elisa. "Lied versus Oper – Pole musikalischer Gattungen bei Oscar Bie." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.70.
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A comparison of Oscar Bie’s monographies Die Oper and Das deutsche Lied shows that opera and ‘Lied’ are two extremes in Bie’s understanding of musical genres. While opera according to Bie is an “impossible work of art” which arises from countless contradictions, the low-conflict ‘Lied’ forms an opposite pole. Bie’s perception influences the way he deals with the two genres in writing: while opera is suitable for an adequate feuilleton, ‘Lied’ is not. Bie’s comparison gives him the possibility to break with established patterns of genres. It becomes apparent that for him opera takes on a special role in that it represents the culmination of the basic features of music. As a critic, Bie demands utmost congruence between object and written representation. Writing about music means to be an artist who deals with the same work of art but in another medium.
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Niemtsova, Liliya. "A Combination of Professional and Personal Qualities in the Choir Conductor." In ATEE 2020 - Winter Conference. Teacher Education for Promoting Well-Being in School. LUMEN Publishing, 2021. http://dx.doi.org/10.18662/lumproc/atee2020/21.
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The article outlines the problem of combining professional and personal qualities in the choir conductor. Research gaps in the profession of choir conductor are outlined. We established that the art of conducting, and choral performance as its component, currently requires professionally trained personnel, who have an active life position and are able to provide a creative approach to choral singing. It was found that conducting should be interpreted as a creative process characterized by a step-by-step structure and a combination of analysis and comprehension of the choral score, its artistic interpretation, which allows embodying the formed musical image in the real choral sound. It was found that the conductor’s professional qualities are based on the conductor’s individual style or his “creative method”. It is established that the emotional sphere of the conductor is the result of a combination of qualities that will allow the conductor and the choir to demonstrate a bright and convincing revelation of the originality of texture, expressive timbre colors of numerous choral scores, and a rich palette of nuances.
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Kolesnik, M., and E. Baranova. "Creation of the information system “Memorial plaques of Kaliningrad”: content analysis of the commemorative text." In Historical research in the context of data science: Information resources, analytical methods and digital technologies. LLC MAKS Press, 2020. http://dx.doi.org/10.29003/m1796.978-5-317-06529-4/108-113.
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The article is devoted to the study of the role of memorial plaques as commemorative signs in the creation of a single “city text” of Kaliningrad. Based on the American resource Open Plaques, the most complete database of memorial plaques in Kaliningrad has been created at the moment. In the course of the analysis of the obtained material, it was found that the boards created in Kaliningrad over the past decades differ from those established in the Soviet period in thematic and artistic performance, the size of the non-verbal component of the text. This is how the plaques associated with preserving the memory of the heroes of local wars and armed conflicts are installed. Often, on updated plaques, the non-verbal component becomes larger, and the verbal text is supplemented with more specific information
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Kolesnik, M., and E. Baranova. "Creation of the information system “Memorial plaques of Kaliningrad”: content analysis of the commemorative text." In Historical research in the context of data science: Information resources, analytical methods and digital technologies. LLC MAKS Press, 2020. http://dx.doi.org/10.29003/m1796.978-5-317-06529-4/108-113.
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The article is devoted to the study of the role of memorial plaques as commemorative signs in the creation of a single “city text” of Kaliningrad. Based on the American resource Open Plaques, the most complete database of memorial plaques in Kaliningrad has been created at the moment. In the course of the analysis of the obtained material, it was found that the boards created in Kaliningrad over the past decades differ from those established in the Soviet period in thematic and artistic performance, the size of the non-verbal component of the text. This is how the plaques associated with preserving the memory of the heroes of local wars and armed conflicts are installed. Often, on updated plaques, the non-verbal component becomes larger, and the verbal text is supplemented with more specific information
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Sungur, Zerrin. "Women Entrepreneurship in Slow Cities of Turkey from a Sociological Perspective." In International Conference on Eurasian Economies. Eurasian Economists Association, 2013. http://dx.doi.org/10.36880/c04.00786.
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Cittàslow movement was established in Italy in 1999. The Slow City movement incorporates a philosophy and a commitment to maintain the cultural heritage and quality of life of their membership towns. A slow city aims to improve the quality of life of its citizens and its visitors. Member towns are obliged to pursue local projects protecting local cultures, contributing to a relaxed pace of life, creating conviviality and hospitality and promoting a unique sense of place and local distinctiveness. There are nine slow cities in Turkey in 2013. This study examines the women entrepreneurship in slow cities of Turkey from a sociological perspective. Slow cities offer many opportunities in the meaning of local development especially for women in Turkey. They can engage with small business, hand-crafts, and organic farming in slow cities. But training of women, certification of the quality of artisan products and awareness of the citizens of slow cities are the critical issues in the sustainable local development process. Therefore, it is possible to increase income level of women living in slow cities in Turkey and also to preserve local tastes.
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Schrock, Peter J., M. Elisa McQueen, Kathryn J. De Laurentis, Merry L. Morris, and Rajiv V. Dubey. "Wheelchair Modification for Hands-Free Motion for Dancers With Disabilities." In ASME 2008 Summer Bioengineering Conference. American Society of Mechanical Engineers, 2008. http://dx.doi.org/10.1115/sbc2008-193178.
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Functional modifications to power and manual chairs are currently advancing in the areas of rehabilitation, sports and recreation and in the activities of daily living; however, these modification have yet to be directly applied in the field of performing arts. An assistive device was developed at the University of South Florida (USF) during collaboration between the Department of Mechanical Engineering and the School of Theatre and Dance. The project was initiated by Professor Merry Lynn Morris who identified a need for new conceptions of mobility; her work with dancers, with and without disabilities established the research framework in which choreographic vision could be supported with technological applications. Therefore, a device was designed to alleviate the constraints of current wheelchair designs which inhibit the user’s upper-body artistic movement range and capacity for interaction. The main purpose of the design was to create hands-free motion through the modification of a power wheelchair, which make it useful in the performing arts, but also as an assistive device for persons with disabilities. This device is in its first research phase of development as a prototype and is patent pending.
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Irina, Elena-Roxana. "How Can We Form the self-image of Students from Primary School by Receiving the Literary Text." In ATEE 2020 - Winter Conference. Teacher Education for Promoting Well-Being in School. LUMEN Publishing, 2021. http://dx.doi.org/10.18662/lumproc/atee2020/13.
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One of the premises that determines the research topic is that the methodologies for forming the self-image of the students of the primary classes in the process of receiving the literary text are not sufficiently known, systematized, valorized, applied. In addition, the literary text with its dual function of psychological and pedagogical resource is used in the educational approach more as a moral value. The emotional aspect, probed in the theories of art or more specifically of artistic literary education, which contributes to the development of the respective intelligence is less valued by teachers. The "poor" emotional intelligence developed at the students, the problems of the self-image made us preoccupied about this problem. The purpose of the research aims to reveal some methods corresponding to the literary-artistic education for the formation of the self-image of the students of the primary school in the process of receiving the literary text. The research aims to establish the psycho-pedagogical and literary-artistic landmarks for the formation of the self-image of the students of the primary school in the process of receiving the literary text; studying the practical situation regarding the formation of the student's self-image; applying questionnaires to investigate the student's self-image; highlighting, in the process of the pedagogical experiment, the tendencies and the particularities of forming the self-image of the student, as well as the validation of the formative approach within the control phase; creating opportunities to introduce didactic technologies specific to the system of literary-artistic activities for the formation of the student's self-image. Expected results: a comparative analysis of the curriculum and book of Romanian language and literature, 3rd / 4th grades in Romania and in the Republic of Moldova, regarding the existence of the competences / contents that lead to the formation of the self-image of the students, two lots (one experimental and one control) of 100 students from the 3rd / 4th grades from Romania and from the Republic of Moldova, on which questionnaires on the self-image will be applied, an optional curriculum Read and get to know yourself! for the 3rd / 4th grades, which aims at forming the self-image of the primary students in the process of receiving the literary text, an auxiliary for the 3rd / 4th graders and a guide for the teaching staff the optional class, with different contents aimed at forming the self-image of the students of the primary classes in the process of receiving the literary text, a training program and the course support, approved by the Ministry of National Education of Romania, 25 trained teachers. The research runs from November 2020 to June 2021.
Reports on the topic "Established artists"
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Crispin, Darla. Artistic Research as a Process of Unfolding. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.503395.
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As artistic research work in various disciplines and national contexts continues to develop, the diversity of approaches to the field becomes ever more apparent. This is to be welcomed, because it keeps alive ideas of plurality and complexity at a particular time in history when the gross oversimplifications and obfuscations of political discourses are compromising the nature of language itself, leading to what several commentators have already called ‘a post-truth’ world. In this brutal environment where ‘information’ is uncoupled from reality and validated only by how loudly and often it is voiced, the artist researcher has a responsibility that goes beyond the confines of our discipline to articulate the truth-content of his or her artistic practice. To do this, they must embrace daring and risk-taking, finding ways of communicating that flow against the current norms. In artistic research, the empathic communication of information and experience – and not merely the ‘verbally empathic’ – is a sign of research transferability, a marker for research content. But this, in some circles, is still a heretical point of view. Research, in its more traditional manifestations mistrusts empathy and individually-incarnated human experience; the researcher, although a sentient being in the world, is expected to behave dispassionately in their professional discourse, and with a distrust for insights that come primarily from instinct. For the construction of empathic systems in which to study and research, our structures still need to change. So, we need to work toward a new world (one that is still not our idea), a world that is symptomatic of what we might like artistic research to be. Risk is one of the elements that helps us to make the conceptual twist that turns subjective, reflexive experience into transpersonal, empathic communication and/or scientifically-viable modes of exchange. It gives us something to work with in engaging with debates because it means that something is at stake. To propose a space where such risks may be taken, I shall revisit Gillian Rose’s metaphor of ‘the fold’ that I analysed in the first Symposium presented by the Arne Nordheim Centre for Artistic Research (NordART) at the Norwegian Academy of Music in November 2015. I shall deepen the exploration of the process of ‘unfolding’, elaborating on my belief in its appropriateness for artistic research work; I shall further suggest that Rose’s metaphor provides a way to bridge some of the gaps of understanding that have already developed between those undertaking artistic research and those working in the more established music disciplines.
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Orning, Tanja. Professional identities in progress – developing personal artistic trajectories. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.544616.
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We have seen drastic changes in the music profession during the last 20 years, and consequently an increase of new professional opportunities, roles and identities. We can see elements of a collective identity in classically trained musicians who from childhood have been introduced to centuries old, institutionalized traditions around the performers’ role and the work-concept. Respect for the composer and his work can lead to a fear of failure and a perfectionist value system that permeates the classical music. We have to question whether music education has become a ready-made prototype of certain trajectories, with a predictable outcome represented by more or less generic types of musicians who interchangeably are able play the same, limited canonized repertoire, in more or less the same way. Where is the resistance and obstacles, the detours and the unique and fearless individual choices? It is a paradox that within the traditional master-student model, the student is told how to think, play and relate to established truths, while a sustainable musical career is based upon questioning the very same things. A fundamental principle of an independent musical career is to develop a capacity for critical reflection and a healthy opposition towards uncontested truths. However, the unison demands for modernization of institutions and their role cannot be solved with a quick fix, we must look at who we are and who we have been to look at who we can become. Central here is the question of how the music students perceive their own identity and role. To make the leap from a traditional instrumentalist role to an artist /curator role requires commitment in an entirely different way. In this article, I will examine question of identity - how identity may be constituted through musical and educational experiences. The article will discuss why identity work is a key area in the development of a sustainable music career and it will investigate how we can approach this and suggest some possible ways in this work. We shall see how identity work can be about unfolding possible future selves (Marcus & Nurius, 1986), develop and evolve one’s own personal journey and narrative. Central is how identity develops linguistically by seeing other possibilities: "identity is formed out of the discourses - in the broadest sense - that are available to us ..." (Ruud, 2013). The question is: How can higher music education (HME) facilitate students in their identity work in the process of constructing their professional identities? I draw on my own experience as a classically educated musician in the discussion.