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Journal articles on the topic 'Interviews with artists'
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Fusco, Coco, and Robert Knafo. "Interviews with Cuban Artists." Social Text, no. 15 (1986): 41. http://dx.doi.org/10.2307/466491.
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Bury, Stephen, and Helen Scott. "The artist speaks: the interview as documentation." Art Libraries Journal 25, no. 1 (2000): 4–9. http://dx.doi.org/10.1017/s0307472200011366.
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Nearly every exhibition catalogue now contains an interview with, or related statement by, the artist. How and why did this become the norm? The increasing popularity of the artist’s words is traced back in this article to its roots in Romanticism, the rise of the mass media and the cult of the avant-garde artist. The value and reliability of the transcribed and printed words is questioned and a bibliography of published interviews with artists follows.
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Machmut-Jhashi, Tamara, Matthew Baigell, and Renee Baigell. "Soviet Dissident Artists: Interviews after Perestroika." Slavic and East European Journal 41, no. 3 (1997): 511. http://dx.doi.org/10.2307/310204.
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Shalin, Dmitri, Renee Baigell, and Matthew Baigell. "Soviet Dissident Artists: Interviews after Perestroika." Russian Review 55, no. 4 (1996): 709. http://dx.doi.org/10.2307/131882.
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Géracht, Maurice. "Donald Friedman's Interviews : Writers as Visual Artists." Interfaces, no. 40 (December 21, 2018): 209–13. http://dx.doi.org/10.4000/interfaces.612.
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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 (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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Bene, Elisabeth Maria. "On Regimes of Value in the Art World and the Art of Bernhard Rappold." Journal of Extreme Anthropology 1, no. 2 (2017): 75–78. http://dx.doi.org/10.5617/jea.5383.
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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 multiple source of value creation in the artworld, while using material from interviews with the Viennese artist Bernhard Rappold.
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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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Hsieh, Yung-Cheng, and Ssu-Yu Cheng. "The New Taipei City Artist Map Project: The Compilation and Promotion of the Greater Danshui Artist Map." International Journal of Humanities and Arts Computing 7, supplement (2013): 201–15. http://dx.doi.org/10.3366/ijhac.2013.0070.
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‘The Compilation and Promotion of the Greater Danshui Artist Map’ is the first-stage plan from the ‘New Taipei City Artist Map Project’ by Culture Affairs Bureau of New Taipei C ity. The goal of this project, named ‘One Year, One Village’, is to conduct field survey, in-depth interviews, artwork digitisation and promotional events on artists and art villages within Ney Taipei City. Information from the research and its resulting digitised visual and audio contents will become the foundation for future development and production of arts emerging from the growing cultural originality in New Taipei C ity. In addition to utilizing the traditional ‘direct observation’ approaches to obtain first-hand information and establish contacts with local artists, the research also takes on a field survey approach to conduct verbal interviews and complete digital photographs of artists’ artworks. The combination of these methods had achieved a complete and accessible artist archive for the Greater Danshui. Using the surveyed results and digital content, the Greater Danshui artists map website, ( http://artist-map.ntpc.gov.tw/sd_/ ) was completed and a pamphlet for arts of Greater Danshui was published.
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Coleman, Heidi. "Introduction: Devising in Chicago—Interviews with the Artists." Theatre Topics 26, no. 2 (2016): E—1—E—2. http://dx.doi.org/10.1353/tt.2016.0031.
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Skinner, Damian. "Contemporary Jewellers: Interviews with European Artists Roberta Bernabei." Journal of Modern Craft 5, no. 3 (2012): 365–67. http://dx.doi.org/10.2752/174967812x13511744765047.
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Heddon, Deirdre (Dee), and Cathy Turner. "Walking Women: Interviews with artists on the move." Performance Research 15, no. 4 (2010): 14–22. http://dx.doi.org/10.1080/13528165.2010.539873.
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Szostak, Michał, and Łukasz Sułkowski. "The identity and self-perception of artists-managers." Problems and Perspectives in Management 19, no. 1 (2021): 372–86. http://dx.doi.org/10.21511/ppm.19(1).2021.32.
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Manager’s and artist’s professional identities seem to be opposite, but there are many indications that this understanding is not justified in reality. Despite the contradictions, these two identities can intersect. The paper aims to define the characteristics of the artists-managers’ identity. The object of the study was qualitative research (n = 22) conducted in the form of in-depth interviews with key informants from the international environment. The practical objective was to verify common and contradicted features of the artist’s and the manager’s identities among artists-managers to understand the possibilities of reducing the intra-psychic tensions and ways of fruitful paradoxical thinking among managers and negative consequences for personalities and organizations. The study reveals common characteristics between the artist’s and manager’s identities and describes artists-managers’ identity. Although artists-managers experience diversity between both identities, they do not see them as contrary; they use paradoxical thinking, being experts in using personal seemingly contradictory characteristics to achieve outstanding performance. Acting in paradoxical contexts and focusing on the positive aspects of seemingly contradictory personal qualities, they find nonstandard creative solutions. By trying to understand and implement their self-construction, there is the possibility to reduce the intra-psychic tensions and negative consequences of seemingly opposite identities or goals among individuals in organizations. There is a synergy between the manager’s and artist’s identities. Understanding the nature and attributes of artistic creativity, aesthetic theories and the phenomenon of artist-manager’s identity can be a valuable contribution to the practice of management and organizational life.
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Setai, Phokeng T., Jan K. Coetzee, Christoph Maeder, Magdalena Wojciechowska, and Leane Ackermann. "The Creative Process. A Case for Meaning-Making." Qualitative Sociology Review 14, no. 4 (2019): 86–99. http://dx.doi.org/10.18778/1733-8077.14.4.06.
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Since the beginning of time art-making has been a tool to express, preserve, and challenge the extant knowledge in society. Artists do this by finding or creatively constructing new understandings in society. An artist is able to do this through the medium he/she uses to relay the message of the artwork. The medium that an artist uses to express his/her artistic concept has an impact on the character that the artwork will take. The medium of expression forms but one of the many considerations that go through an artist’s mind when creating art. In the process of art-making, an artist seeks to create new meanings or re-imagine old ones by organizing materials and concepts. In so doing, he/she discovers novel ways to get ideas across, and thereby creates new interpretations of social phenomena. In this article, attention is given to meaning-making as a conscious and iterative component of creating art. From a series of in-depth interviews, the authors analyze the inward processes that occur within six artists’ creative praxes and how these lead their construction of meaning. Attention is also paid to how the artists manipulate concepts and how they construct and deconstruct their understandings of these concepts in the course of their creative endeavors.
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Szostak, Michał, and Łukasz Sułkowski. "THE CHALLENGES IN IDENTIFICATION OF ARTISTS-MANAGERS: CONSEQUENCES FOR CREATIVITY." Creativity Studies 14, no. 1 (2021): 112–24. http://dx.doi.org/10.3846/cs.2021.13822.
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Research on identity, its tensions and paradoxes have extensive literature and a large number of scientists exploring the subject. Our own experiences in the fields of art and management were the main arguments for the introduce of the concept of “artists-managers” and to undertake research in the area of artists-managers’ identity to find the conclusions for creativity. This article aims to describe the challenges in the identification of artists-managers, who can be crucial in understanding the creativity factor. To reach our goal, we run empirical qualitative research based on in-depth interviews with key-informants from Europe, Africa and North America as well as auto-analysis of an artist-manager identity. We answer the research question “Who is the artist-manager?”. We present our “creativity development model” on the base of artists-managers’ characteristics and we describe what kind of challenges should be considered in the empirical research of artists-managers. These challenges may be used as guidelines for artists-managers: for those who discover an artist-manager in their personality, for defined artists-managers to help to better understand their features, and for artists-managers’ followers to be more sensitive for their leaders’ characteristics. Our model may help to understand and develop the creativity of society.
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Klostermann, Janna. "Write Like a Visual Artist: Tracing artists’ work in Canada’s textually mediated art world." Literacy and Numeracy Studies 24, no. 2 (2016): 43–63. http://dx.doi.org/10.5130/lns.v24i2.5060.
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This study examines the social organisation of Canada’s art world from the standpoint of practising visual artists. Bringing together theories of literacy and institutional ethnography, the article investigates the literacy practices of visual artists, making visible how artists use written texts to participate in public galleries and in the social and institutional relations of the art world. Drawing on extended ethnographic research, including interviews, observational field notes and textual analyses, this study sheds light on the ways visual artists enact particular texts, enact organisational processes, and to enact the social and conceptual worlds they are a part of. Through the lens of visual artists, this study locates two particular texts – the artist statement and the bio statement – in the extended social and institutional relations of the art world.
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Law, Shui Ki. "On Ideology and Art Creation: Vienna vs. Hong Kong." Journal of Extreme Anthropology 1, no. 2 (2017): 31–34. http://dx.doi.org/10.5617/jea.4987.
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A student essay for the Special Student Issue of the Journal of Extreme Anthropology accompanying the art exhibition 'Artist's Waste, Wasted Artists', which opened in Vienna on the 19th of September 2017 and was curated by the students of social anthropology at the University of Vienna. This essay considers the difference between the art worlds in Vienna and Hong Kong, focusing in particular on the differing ideologies of creation and structural limitations, utilizing the work on ideology by Louis Althusser. The essay is also based on interviews with the Viennese artist Klaus Peter Scheuringer.
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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 (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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Teaque, Edward H. "TWENTIETH CENTURY ARTISTS ON ART: AN INDEX TO ARTISTS' WRITINGS, STATEMENTS AND INTERVIEWS. Jack Robertson." Art Documentation: Journal of the Art Libraries Society of North America 5, no. 3 (1986): 139. http://dx.doi.org/10.1086/adx.5.3.27947638.
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Carter, Michelle, and Chris Carter. "The Creative Business Model Canvas." Social Enterprise Journal 16, no. 2 (2020): 141–58. http://dx.doi.org/10.1108/sej-03-2019-0018.
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Purpose Creative and cultural producers, like social enterprises, operate in a complex business environment where the value proposition is difficult to define, and the organisational motivations are not always financially driven. In the case of Australian visual artists, low incomes and limited access to government funding magnify the importance of developing sustainable business models. This paper aims to present the Creative Business Model Canvas (CBMC), a reinterpretation of Osterwalder and Pigneur’s CBMC (2010), for the benefit of a visual artist’s business planning. Design/methodology/approach This qualitative study uses data from semi-structured interviews to analyse and evaluate the effectiveness of the Osterwalder and Pigneur’s BMC (2010) for use by creative artists to understand the value of their artwork beyond traditional profit-driven business models. A modified canvas is presented to capture a clearer snapshot of creative arts practice with a focus on value propositions that possess dimensions of symbolic value. Findings This study found that the symbolic value of an artist’s practice is difficult to capture using Osterwalder and Pigneur’s CBMC (2010). An artist value proposition is composed of the artifact, artistic services and the artist’s identity. The creative CBMC, as a modified CBMC, captures aspects of the artistic identity such as professional achievements, personal life and the artist’s authenticity. Originality/value This study builds on Osterwalder and Pigneur’s CBMC and reimagines it for use by visual artists and art-based social enterprise organisations where the notion of value can be challenging to articulate.
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Veras, Eduardo Ferreira. "Interviews with artists: a virgin patch of fertile content." PORTO ARTE: Revista de Artes Visuais 22, no. 37 (2017): 239. http://dx.doi.org/10.22456/2179-8001.80131.
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Norgaard, Martin. "Descriptions of Improvisational Thinking by Artist-Level Jazz Musicians." Journal of Research in Music Education 59, no. 2 (2011): 109–27. http://dx.doi.org/10.1177/0022429411405669.
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Thought processes of seven artist-level jazz musicians, each of whom recorded an improvised solo, were investigated. Immediately after completing their improvisations, participants listened to recordings of their playing and looked at the notation of their solos as they described in a directed interview the thinking processes that led to the realization of their improvisations. In all of the interviews, artists described making sketch plans, which outlined one or more musical features of upcoming passages. The artists also described monitoring and evaluating their own output as they performed, making judgments that often were incorporated into future planning. Four strategies used by the artists for generating the note content of the improvisations emerged from the analysis: recalling well-learned ideas from memory and inserting them into the ongoing improvisation, choosing notes based on a harmonic priority, choosing notes based on a melodic priority, and repeating material played in earlier sections of the improvisation.
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Tangonan, Hyreizl Love Acosta, and Charlton Sales Selda. "Art as an Escape: A Narrative of a Fine Arts Graduate." Abstract Proceedings International Scholars Conference 7, no. 1 (2019): 909–24. http://dx.doi.org/10.35974/isc.v7i1.1578.
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Introduction: In the field of visual arts, there are a few studies conducted on the subject of escapism among artists. This research paper is conducted, in the context of contemporary visual arts, with the purpose of contributing to the knowledge regarding escapism and the experiences of artists who resort to art as an escape.
 Methods: Using the narrative research design, the central research question is “How do personal experiences trigger a Fine Arts graduate artist to resort to art as an escape?”. A graduate of Fine Arts who personally considers art as an escape was the participant of the study. Data were gathered using semi-structured interviews, and analysed based on the narrative inquiry research framework by Connelly and Clandinin (1990).
 Results: The findings were categorised into the following three themes: (a) situation, (b) interaction, and (c) continuity. This research will contribute to the existing knowledge of escapism in the field of visual arts even in the local context.
 Discussion: Further research on the lives of contemporary artists and artisans is needed in the field of narrative inquiry. Moreover, a deeper understanding of the mental and emotional issues among artists will clary misconceptions in the field of visual art and also give new perspectives and insights to a common mentality of artists as introverts or other negative stereotypes
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Shields, Alison Lea, Ingrid Mary Percy, and Teresa Vander Meer-Chassé. "Making Time and Space for Art: An Examination of an Artist-in-Residence Within a Postsecondary Art Education Program." Canadian Review of Art Education 48, no. 1 (2021): 73–99. http://dx.doi.org/10.26443/crae.v48i1.96.
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Abstract: This article examines the process and impact of an artist-in-residence program in Art Education at the University of Victoria. After an open call to artists, contemporary Upper Tanana visual artist, Teresa Vander Meer-Chassé, member of the White River First Nation of Beaver Creek, Yukon and Alaska was selected as the inaugural artist-in-residence. Through research-creation and qualitative methods this research examines the artist’s artistic process and the impact of an artist-in-residence on students’ and faculty’s perception of artistic practice and their experience working with an artist-in-residence within a post-secondary space of learning. Through photographic documentation, reflections and interviews by participants, the article examines ways the artist-in-residence enriched student and faculty learning in a Faculty of Education. Keywords: Artist-in-residence; Post-secondary education; Artistic inquiry; Indigenous pedagogy; Beading. Résumé : Cet article s’intéresse au processus et à l’impact d’un programme d’artiste en résidence dans le domaine de l’enseignement des arts à l’Université de Victoria. Suite à une audition ouverte d’artistes, l’artiste visuelle contemporaine du Haut Tanana Teresa Vander Meer-Chassé, membre de la Première Nation de White River de Beaver Creek, du Yukon et de l’Alaska, a été choisie artiste-résidente inaugurale. La présente recherche utilise des méthodes quantitatives et de recherche-création pour étudier la démarche artistique de l’artiste et l’impact d’une artiste-résidente sur la perception de la pratique artistique chez les étudiants et le corps enseignant. On y analyse aussi l’impact de collaborer avec une artiste-résidente en milieu d’apprentissage postsecondaire. Documentation photographique, réflexions et entrevues des participant.e.s sont mises à profit pour déterminer de quelles façons l’artiste- résidente a enrichi l’apprentissage étudiant et du corps enseignant au sein de la Faculté d’éducation. Mots-clés : artiste-résidente, enseignement postsecondaire, recherche artistique, pédagogie autochtone, perlage.
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Cayrol, Timothée, Emma Godfrey, Jerry Draper-Rodi, and Lindsay Bearne. "Exploring Professional Circus Artists’ Experience of Performance-Related Injury and Management: A Qualitative Study." Medical Problems of Performing Artists 34, no. 1 (2019): 14–24. http://dx.doi.org/10.21091/mppa.2019.1004.
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AIMS: Circus is a physically demanding profession, but injury and help-seeking rates tend to be low. This qualitative interview study explored the perceptions and beliefs about injury and help-seeking of circus artists. METHODS: Ten professional circus artists (5 males, 5 females; mean age 33 yrs, range 27–42) were enrolled. Individual, semi-structured interviews were conducted until data saturation of themes was reached. Data were analysed thematically. FINDINGS: Four themes were identified: 1) the injured artist; 2) professionalism; 3) circus life; and 4) artists’ experience of healthcare. Most participants described the circus as central to their lives, and injuries had wide-ranging psychosocial consequences. Injury adversely affected participants’ mood and threatened their identity. Situational and personal factors (e.g., the belief that pain was normal) pushed participants to use adaptive strategies to perform when injured. Continuous touring and financial constraints affected help-seeking. Easy access to healthcare was rare and participants often self-managed injuries. Experiences of healthcare varied, and participants desired flexible and accessible approaches to prevention and injury management. A modified version of the integrated model of psychological response to injury and rehabilitation process and the concept of identity provided a framework to understand participants. CONCLUSION: Injuries had extensive negative consequences. Work schedules, financial factors, employer support, the artist’s perception of the importance of the show, and the relationship between circus and identity influenced injury management and help-seeking. Injury prevention and management strategies could be optimised by developing centres of expertise, online resources, and better regulations of the profession.
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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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Hennekam, Sophie, and Dawn Bennett. "Involuntary career transition and identity within the artist population." Personnel Review 45, no. 6 (2016): 1114–31. http://dx.doi.org/10.1108/pr-01-2015-0020.
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Purpose The purpose of this paper is to examine artists’ experiences of involuntary career transitions and its impact on their work-related identities. Design/methodology/approach Semi-structured interviews with 40 artists in the Netherlands were conducted. Self-narratives were used to analyze the findings. Findings Artists who can no longer make a living out of their artistic activities are forced to start working outside the creative realm and are gradually pushed away from the creative industries. This loss of their creative identity leads to psychological stress and grief, making the professional transition problematic. Moreover, the artistic community often condemns an artist’s transition to other activities, making the transition psychologically even more straining. Originality/value This study provides in-depth insights into how artists deal with changes in their work-related identities in the light of involuntary career transitions.
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Caust, Josephine. "Sustainability of Artists in Precarious Times; How Arts Producers and Individual Artists Have Adapted during a Pandemic." Sustainability 13, no. 24 (2021): 13561. http://dx.doi.org/10.3390/su132413561.
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Making a living as an artist, whatever the discipline, is challenging. In addition to skills and talents, artists need resilience, adaptability, creativity, and the ability to withstand endless setbacks and rejections. Most critically, they need an on-going, stable income. Several studies have demonstrated that the income of most artists is usually very low. To survive, artists often find other sources of income aside from their creative work. Ideally, they also need a place to work, the capacity to do their work and a sense of validation from others of their work. When your livelihood disappears over night because of a pandemic, how do you then sustain that creative work? Using multiple sources of data and a qualitative methodology, including case studies and interviews, this paper addresses the ways that artists and producers from different art forms have addressed these challenges in Australia. It is concluded that while the impact of the pandemic on artists’ lives has been considerable, some artists have been able to survive, adapt, and move forward.
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Evans Jain, Jessica. "Mehandi in the Marketplace." Museum Anthropology Review 14, no. 1-2 (2020): 18–107. http://dx.doi.org/10.14434/mar.v14i1-2.5180.
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Henna has been an essential part of women’s traditional body art in many North Indian communities. In recent decades, professional henna artists have expanded their businesses to offer “walk-in” service along the sidewalks of urban market areas in addition to private at-home bookings. This study examines the skills acquisition and execution of Jaipur market henna artists in order to understand how they satisfy a large customer base that demands convenience, application speed, motif variety, and overall design excellence. In addition to conducting interviews with artists and customers, the author received training from and worked alongside a closed sample of artists. Collected market designs were compared to surveyed design booklets and magazines in order to identify elements of continuity and change in designs since 1948. The data revealed that customer demands require artist training that promotes constant innovation that in turn increases popular appeal and vitalizes the tradition of henna application.
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Gamble, Jordan Robert. "Marketing madness or financial folly?" European Journal of Marketing 53, no. 3 (2019): 412–41. http://dx.doi.org/10.1108/ejm-11-2017-0830.
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Purpose The purpose of this paper is to explore the implementation of equity crowdfunding (ECF) within the record industry in terms of challenges and opportunities, in addition to the marketing and financial implications for independent music artists and major record labels. Design/methodology/approach This study adopted a qualitative methodology consisting of two-stage interview-based research methods. A total of 44 semi-structured in-depth interviews were conducted with the CEOs of ECF platforms in the record industry, other related record industry informants, independent artist managers and senior executives from major record labels. Findings The loyalty aspect of ECF may have significant marketing potential in terms of inconspicuously using the equity platform as a “prosumer” identification mechanism. As this early career stage of artists is delicate in terms of establishing trust and patronage from their fans, these early marketing and ECF ventures should be implemented directly from the artist without external third-party involvement. Research limitations/implications The implications of this paper’s findings and theoretical model are not limited to the two studied stakeholder groups of the record industry. The insights in relation to the obstinate lack of understanding and clarity (particularly for independent artists) which surround ECF are likely to influence short-term strategic approaches by other players throughout the wider music industry. Practical implications The insights regarding negative approaches towards ECF by the labels may influence future “coopetition strategies” for independent labels, as they seek to navigate the changing industry dynamics. Originality/value This paper is the first study to empirically explore the predominantly under-researched area of ECF implementation in the record industry in terms of marketing and financial consequences for artists and labels.
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Sjöholm, Jenny, and Cecilia Pasquinelli. "Artist brand building: towards a spatial perspective." Arts Marketing: An International Journal 4, no. 1/2 (2014): 10–24. http://dx.doi.org/10.1108/am-10-2013-0018.
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Purpose – The purpose of this paper is to analyse how contemporary artists construct and position their “person brands” and reflects on the extent to which artist brand building results from strategic brand management. Design/methodology/approach – A conceptual framework proposes a spatial perspective on artist brand building to reach an analytical insight into the case of visual artists in London. The empirical analysis is qualitative, based on serial and in-depth interviews, complemented by participant observations. Findings – Artist brand building relies on the creation and continuous redefinition of “in-between spaces” that exist at the blurred boundaries separating an individual and isolated art studio, and the social and visible art scene. Artist brand building is a bundle of mechanisms that, mainly occurring without strategic thinking, are “nested” within the art production process throughout which learning, producing and performing are heavily intertwined. Research limitations/implications – This study was undertaken with a focus on visual artists and specific operations and spatialities of their individual art projects. Further empirical research is required in order to fully explore the manifold of practices and spatialities that constitute contemporary artistic practice. Practical implications – This study fosters artists’ awareness of branding effects that spillover from artistic production, and thus potentially opens the way to a more strategic capitalization on these. Originality/value – The adopted spatial perspective on the process of artist brand building helps to uncover “relatively visible” and “relatively invisible” spatialities that, usually overlooked in branding debate, play a significant role in artist brand building.
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Mildorf, Jarmila. "Narratives of vicarious experience in oral history interviews with craft artists." Journal of Pragmatics 152 (October 2019): 103–12. http://dx.doi.org/10.1016/j.pragma.2018.03.010.
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Green, Gaye. "In Their Own Words: Critical Thinking in Artists' Diaries and Interviews." Art Education 59, no. 4 (2006): 46–53. http://dx.doi.org/10.1080/00043125.2006.11651603.
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Ricotta, Anthony G., Susan K. Fan, and Rocky J. Dwyer. "How artistic directors motivate the consistency of artists’ performance." Arts and the Market 9, no. 2 (2019): 162–77. http://dx.doi.org/10.1108/aam-05-2019-0019.
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Purpose The purpose of this paper is to explore what motivation strategies live-entertainment artistic directors (ADs) use to increase consistency in their employees’ performances. Design/methodology/approach The purpose of this qualitative case study was to explore the research question: what motivation strategies do live-entertainment ADs use to improve consistency in employee performance? Semistructured face-to-face interviews with artistic and senior ADs of a large international live-entertainment company’s US division participated in the study. In addition to the interviews, a further analysis of archival records of artists’ evaluations, and written company documents regarding performance evaluation to understand the ADs’ strategies were completed. Finally, self-reported interview data compared to AD evaluations of artists from randomly selected prior years verified the ADs practices. Findings The finding indicated ADs use multiple techniques geared at improving employee well-being and technical competence, thereby creating an environment conducive to the employees self-determining their consistent behavior in performance. Practical implications These findings may offer managers across multiple industries a variety of strategies and techniques to use to improve consistency for their workers. Originality/value This study is the one of few that studies manager influence on the motivation of those employees whose job is to entertain others regardless of the employee’s emotional state. From these findings, ADs may determine how to implement workplace safety improvements, expanding employee well-being, which in turn can improve performance consistency.
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Brinklow, Laurie. "Stepping-stones to the Edge: Artistic Expressions of Islandness in an Ocean of Islands." Island Studies Journal 8, no. 1 (2013): 39–54. http://dx.doi.org/10.24043/isj.275.
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Since the earliest of times, islands have captured the artistic imagination—and, often, for the artist who finds his or her muse in being ‘islanded’, the smaller the island the better. Archipelagos offer an ideal setting for artists who take their inspiration from place: on small islands off islands they can experience an intensity of island living they might not otherwise have on a main island: boundedness and connection, isolation and community. This paper examines expressions of islandness by artists who live on islands off islands that are poles apart—‘archipelagos’ of the Canadian North Atlantic and the Great Southern Ocean. It draws upon interviews with those artists and writers to consider the nature of humans’ attachment and attraction to islands, exploring through the lens of phenomenology what Stratford et al. call the “entanglement between and among islands”.
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Boyd Maunsell, Jerome. ""The Literary Interview as Autobiography"." European Journal of Life Writing 5 (June 22, 2016): MC23—MC42. http://dx.doi.org/10.5463/ejlw.5.194.
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This article examines how interviews with writers and artists operate as forms of autobiography, especially when collected and published in books. It briefly traces the history of the interview in the nineteenth and twentieth centuries, alongside precursors in the earlier forms of dialogues and table talk. It argues that books of collected interviews, with examples including Frédéric Lefèvre’s Une heure avec… series (1924-33) and the Paris Review “Writers at Work” volumes, offer colloquial portraits which have distinctive qualities compared to more ‘written’ autobiographies. Avant-garde writers and artists in particular have taken to the art of the interview from the 1950s onwards with the advent of the tape recorder, in an international tradition of volumes outlined here including Richard Burgin’s Conversations with Jorge Luis Borges (1969), Pierre Cabanne’s Dialogues with Marcel Duchamp (1971), David Sylvester’s Interviews with Francis Bacon (1975-1987), Marguerite Duras’s Practicalities (1987), and J.G. Ballard’s Extreme Metaphors (2012). Chance, improvisation, and edited spontaneity emerge as attributes of the interview as a form of autobiography. Interviews, it is suggested, not only create flexible, immediate autobiographies of their subjects, but offer a dynamic mode of criticism, a space for the free play of ideas.This article was submittted to the European Jounral of Life Writing on November 27th 2015 and published on June 22nd 2016.
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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 (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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Sosani, Yuga Anggana. "Transformasi Musik Pada Ritual Tradisi Kebangru’an." Sophist : Jurnal Sosial Politik Kajian Islam dan Tafsir 3, no. 2 (2021): 60–80. http://dx.doi.org/10.20414/sophist.v3i2.46.
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This paper discusses the role of artists in society as things that influence the creative process of artists in transforming works of art in the Kebangru'an ritual, as well as the form of presentation, functions and values that are contained in Kebangru'an Music. The method of this research uses a qualitative research paradigm with a sociology of art study approach to find out how the role of artists in society as a matter of influencing the creative process of artists in transforming works of art in the Kebangru'an ritual, as well as the form of presentation, functions and values that are contained in Kebangru'an Music. The data was collected by means of observation and in-depth interviews. The observations are carried out by observing various actions that are patterned and reflected the thinking system of the Kebangru'an Music artist which includes speech, expression, statement, outlook on life, and his life history. The result of the study shows that the social status of artists as civil servants and community leaders is a factor that affects the work of artists, the role of artists in society is also a factor in changing the paradigm of society towards Kebangru'an Music. Kebangru'an music is presented with the addition of song texts that function as a means of communicating advice, moral messages in life, also a media that strengthen conformity to social norms. Kebangruan music has values of worship and tolerance or community harmony.
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Cotte, Sabine, Nicole Tse, and Alison Inglis. "Artists’ interviews and their use in conservation: reflections on issues and practices." AICCM Bulletin 37, no. 2 (2016): 107–18. http://dx.doi.org/10.1080/10344233.2016.1251669.
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Sandberg, Berit. "The Artist as Innovation Muse: Findings from a Residence Program in the Fuzzy Front End." Administrative Sciences 10, no. 4 (2020): 88. http://dx.doi.org/10.3390/admsci10040088.
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In a highly competitive business environment, integrating artists into corporate research and development (R&D) seems to be a promising way to foster inventiveness and idea generation. Given the importance of individual level innovation for product development, this study explores the benefits that employees experience from the artist-in-residence-program at Robert Bosch GmbH, Germany. Qualitative content analysis of interviews with scientists and engineers was performed in order to explore the impact of their encounters with artists in the theoretical framework of the triadic concept and transmission model of inspiration. The findings corroborate the notion that inspiration is a suitable theoretical underpinning for individual benefits of art–science collaborations in the front end of innovation. Scientists and engineers are inspired by the artists’ otherness and transcend their usual modes of perception in favor of enhanced focal, peripheral and bifocal vision. Whereas shifts in perspective are reflected in individual thinking patterns, researchers are hardly motivated to change their work-related behavior. The exchange with artists does not have a concrete impact on technological innovation, because researchers neither integrate impulses into their experiential world nor link them to fields of activity. In the case under scrutiny, artistic impulses do not contribute to idea generation in the sense of front-end activities. The study contributes to research on artists in businesses by illuminating the R&D environment as a hitherto neglected field of activity. While substantiating previous research on artist-in-science-residencies, the results suggest that the potential of such interdisciplinary endeavors is limited.
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Bunting, Amanda Marie. "A Sociological Study of Graffiti in Seville, Spain." Journal of Student Research 1, no. 2 (2012): 51–54. http://dx.doi.org/10.47611/jsr.v1i2.64.
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In Seville, Spain graffiti is so prevalent that it creates the background of the city. The artists are rarely seen due to the heavy fines imposed by local government. The illegality of graffiti leaves the artists to live within a deviant subculture of their own. This study analyzes graffiti found in Seville, as well as data from nine qualitative interviews with artists from Spain. Commonalties of this subculture as well as differences from American artists were found and discussed.
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O’Connor, Alison. "The work hurts." Journal of Applied Arts & Health 00, no. 00 (2022): 1–14. http://dx.doi.org/10.1386/jaah_00096_1.
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This study aimed to explore the emotional impact on arts practitioners of working in health, social care and participatory settings and how supervision, or lack of, affects artists’ well-being. Interpretative phenomenological analysis (IPA) was chosen to explore the lived experiences of artists working in this field. Semi-structured interviews were conducted with five artists working across the arts and health spectrum, in a range of settings including children’s hospitals, hospices, prisons, older adults and rehabilitation wards. These interviews were transcribed verbatim and analysed using IPA. Four super-ordinate themes emerged from the analysis: this work as a calling; the psychological impact of the work; managing the impact through supervision and support; sustaining the professional and the personal self.
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Fitzsimmons Frey, Heather. "A Small Festival for Small People." Theatre Research in Canada 40, no. 1-2 (2020): 64–82. http://dx.doi.org/10.7202/1068258ar.
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The WeeFestival, English Canada’s first performance festival dedicated to children from ages 0 to 5, acts as an advocate for the early years demographic and for the artists who create for them through three key elements of festival structure: programming, space, and creative/artistic exchange. Engaging with research by Ben Fletcher-Watson, Lise Hovik, Matthew Reason, and Adele Senior, this article uses company archives, artist interviews, and the writer’s personal experiences to analyze how the WeeFestival temporarily establishes an alternative public sphere that challenges policy-makers, funders, and artists to rethink relationships between arts, very young citizens, and urban life. Even though very young citizens may not initially know that they want to experience art, the festival attends to the interests and responses of young people, demonstrates respect for their capacity to be emotionally and intellectually engaged by artful and thoughtful productions, and establishes festivalized spaces that put an alternative public sphere into action, gesturing to the possibility of real social change. Taking into account the significance of programming for artists, educators, and policy-makers alongside the significance of meaningful audience-artist exchange, the analysis suggests that events like the WeeFestival have the capacity to gently shift how urban dwellers perceive very young children and the way they interact with the arts in daily life.
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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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Enzinger, Katharina. "Thinking Through Value Transformations of Movie Costumes." Journal of Extreme Anthropology 1, no. 2 (2017): 71–74. http://dx.doi.org/10.5617/jea.4889.
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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 investigates the value transformations of costumes created by costume designers for movie productions, tracing their valorization, loss of value, and re-valorization. The text is grounded in interviews with the Viennese costume designer Thomas Oláh.
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Bolling, Caroline, Jay Mellette, H. Roeline Pasman, Willem van Mechelen, and Evert Verhagen. "From the safety net to the injury prevention web: applying systems thinking to unravel injury prevention challenges and opportunities in Cirque du Soleil." BMJ Open Sport & Exercise Medicine 5, no. 1 (2019): e000492. http://dx.doi.org/10.1136/bmjsem-2018-000492.
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ObjectiveWe undertook this qualitative study within an international circus company—Cirque du Soleil—to explore the narrative of artists and the artistic team in regards to injuries and their prevention and to describe the prevention of injuries from a systems thinking lens.MethodsFocus groups (FG) with artists and semistructured individual interviews with the artistic team were conducted in six selected shows. The structure of the interviews and FGs concerned the themes: ‘injury’, ‘injury-related factors’ and ‘injury prevention’. Data were analysed through comparative data analysis based on Grounded Theory. Concept mapping and systems thinking approaches were used to design a map of participants’ views on how to prevent injuries.ResultsInjury was mainly described based on performance limitation. The factors mostly mentioned to be related to injury occurrence were physical load factors. Many of these factors were said to be connected and to influence each other. Injury prevention was mapped as a multilevel system, composed by artist-related factors (eg, technique and life style) and extrinsic factors (eg, touring conditions and equipment) that integrate different strategies and stakeholders.ConclusionOur study reinforces the importance of multilevel injury prevention approaches with shared responsibility and open communication among stakeholders.
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DYAKIV, Khrystyna. "SPEECH GENRE “VIDEO INTERVIEW”: COMMUNICATIVE AND PRAGMATIC ORGANIZATION." Folia Philologica, no. 1 (2021): 20–28. http://dx.doi.org/10.17721/folia.philologica/2021/1/3.
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The interview occupies one of the leading places among the dialogue genres of the media, as it concerns the directreceipt of information or perspectives from the heads of state’s point of view, as well as from experts in particular fields,athletes, artists. This is what determines the relevance of the interview genre research. The aim of this article is tosingle out video interviews as a speech genre (in German studies – a communicative genre), as well as to define itscommunicative organization and composition, namely communicative and pragmatic organization in general. For the first time, a model for analyzing the speech genre “video interview” has been created. For this purpose the “passport”of T. Shmelyova’s speech genre, register features and parameter of the general communicative meaning of F. Batsevychwere used. The composition of the video interview, its communicative purpose and general communicative meaning,specifics of communication channels (scope of the video interview, form of expression and dictum content), communicationspace and content of social roles of communicators (model of the interviewer and the respondent, as well as factorsof communicative past and future), tone of genre and parameters of language embodiment (verbal and nonverbal meansof video interviews). Video interviews are defined as a speech (communicative) genre with a certain established structure,namely an integrated informative version of the interview genre, which includes TV and special interviews stored onYouTube video hosting on the Internet, which are a public form of receipt by the interviewer information through questionson a particular topic (about the identity of the respondent, his thoughts on a particular problem or event) from a wellknownin the field respondent, who has a specific composition at different structural levels. By analyzing communicativegenres, it can be proved that the communicative practices of interaction participants are created by a specific interactivefocus on the types of texts and discourses.
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Jackson, Adele. "A changing cultural climate: Realising the value of artists working in Antarctica." Polar Record 55, no. 5 (2019): 351–57. http://dx.doi.org/10.1017/s0032247419000470.
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AbstractThe ratification of the Antarctic Treaty established a unique construct for human presence and activity in Antarctica. The designation of the continent for peace and science has inspired and informed the work of artists from across the world. This paper explores relationships between the Treaty and contemporary visual artists’ responses to Antarctica. Using data from interviews with scientists, cultural professionals and exhibition audiences, I explore the value to science and society of artists’ presence in Antarctica. I look at why in the last 2 years the number of artists being supported to work in Antarctica has declined and conclude with some observations on how this downward trend might be addressed.
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Vogelaar, Josien. "A RING WITH MAGICAL POWERS: DUTCH ARTISTS WITH INTELLECTUAL DISABILITIES JOIN THE FASHION PROJECT OUTSIDERWEAR." Cadernos CEDES 42, no. 116 (2022): 85–97. http://dx.doi.org/10.1590/cc259067_in.
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ABSTRACT This article presents a collaborative project carried out with these outsider artists and a group of young Dutch creatives. The project initiated by the cultural entrepreneur Jan Hoek consists of creating a fashion label Outsiderwear, in which young creatives, mostly fashion designers, were matched with outsider artists from Outsider Art Studios in Amsterdam; working together, the pair developed a collection. The idea was to establish a structural collaboration between professional creatives and outsider artists. Data is presented using interviews in order to construct a case study.
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Cusenza, Cristina. "Artists from Syria in the International Artworld: Mediators of a Universal Humanism." Arts 8, no. 2 (2019): 45. http://dx.doi.org/10.3390/arts8020045.
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With the outbreak of the Syrian conflict in 2011, many artists left as part of a massive migratory flow out of the country. Other artists had already migrated because of perceived constraints to art-making due to censorship and lack of professional opportunities. Both waves of migration converged in artistic hubs throughout the Middle East and Europe. From the interviews I carried out with visual artists from Syria displaced in London and other locations, it emerged that they faced a shared dilemma. Many wished to move away from politics focusing on universal themes like human suffering, which in the Syrian art-scene were perceived to be apolitical. In exile, however, it is precisely these themes that marked their works as political in the eyes of agents of the artworld and international audiences. I argue that this politicization is a form of essentialization and homogenization of the Syrian art-scene abroad, for categorizing these artists as ‘Syrian’ or ‘Middle Eastern’ flattens their individual creativity by placing them within a national or regional category. This form of ‘othering’ is rooted in the history of Western colonialism in the Middle East and postcolonial geopolitics and power relations structuring the Syrian conflict and Western perceptions of it. I show how my informants attempt to overcome these constraints by employing the discursive register of universalism, while often organizing their lives around the ‘Syrian artist’ category.