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Artículos de revistas sobre el tema "Artist"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 25 de julio de 2025

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1

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

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2

Traduzido por Talita Trizoli, Howardena Pindell. "CONSELHOS PARA UM JOVEM ARTISTA NEGRO / Advices to a young black artist." arte e ensaios 27, no. 42 (2022): 336–41. http://dx.doi.org/10.37235/ae.n42.22.

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Nesse ensaio confessional, a artista afro-americana Howardena Pindell rememora alguns epis�dios de racismo em sua trajet�ria profissional como artista e curadora, al�m de oferecer alguns conselhos profissionais para jovens artistas negros, a fim de escapar de rela��es abusivas de trabalho, golpes e demais�problemas existentes no sistema das artes.Palavras-chave:Ensaio de artista. Sistema das artes. Conselhos.�AbstractIn this confessional essay, the African-American artist Howardena Pindell recalls�some episodes of racism in her professional trajectory as an artist and curator, as well as offer

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3

Marter, Joan, and Amy J. Wolf. "Significant Others: Artist Wives of Artists." Woman's Art Journal 15, no. 2 (1994): 57. http://dx.doi.org/10.2307/1358612.

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4

Ahmad Budi Sulistio Yuwono, S.E., M.M, Ahmad Budi Sulistio Yuwono, S. E. ,. M. M. "INOVASI HAK CIPTA DALAM BISNIS DAN INDUSTRI MUSIK DALAM KOMUNIKASI MASSA." Profilm Jurnal Ilmiah Ilmu Perfilman dan Pertelevisian 2, no. 2 (2025): 51–68. https://doi.org/10.56849/jpf.v2i2.33.

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In our increasingly modern world, the digital era brings various kinds of changes in people's behavior in all areas of life. This is no exception in the field of copyright protection, which is part of intellectual property. The task of artist management is to organize or regulate the professional life of celebrities such as actors, artists, singers, models, and other figures in the entertainment industry. Without artist management, artists have difficulty organizing their lives, from managing schedules to negotiating commissions. How does artist management help ensure legal protection, specifi

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Yu, Sang-Min, and Yun-Suk Lee. "A Study on the Relationship between Institutional Factors and Stress in Popular Culture Artists." Korea Association Of Cultural Economics 27, no. 1 (2024): 181–207. http://dx.doi.org/10.36234/kace.2024.27.1.181.

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This study aims to analyze the stress experienced by popular culture artists in the changing work environment. This study used the data from the '2021 Survey on Artists & Activities' in Korea. We analyzed the impact of institutional factors on artists' stress by popular culture field through Ordered logistic regression analysis between film, broadcast, and popular music artists and their stress levels. Career Interruption, Activities period, education, On-the-job injury, residence area and full-time status of broadcast artist significantly affected artist's stress. Also, Public Pension Sal

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Nicholas Addison and 정옥희. "Artist Teachers/Teaching Artists: Negotiating Pedagogic Identities." Journal of Research in Art Education 11, no. 1 (2010): 51–84. http://dx.doi.org/10.20977/kkosea.2010.11.1.51.

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MacDonald, Margaret Flora. "James McNeill Whistler: An Artist on Artists." Visual Culture in Britain 16, no. 2 (2015): 200–222. http://dx.doi.org/10.1080/14714787.2015.1038437.

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8

Ashby, James B. "Bridging the Gaps: The Puppets Up! International Puppet Festival." Canadian Theatre Review 138 (March 2009): 33–38. http://dx.doi.org/10.3138/ctr.138.006.

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Puppet artists, from the fatherly Geppetto in The Adventures of Pinocchio to the more troubled Craig Schwartz in Being John Malkovich, are often represented as loners, pursuing their chosen art without any outside aid. The solitary puppet artist certainly exists, but as Steve Tillis points out, “[T]he opportunity for control that puppetry offers the artist is frequently taken up less for artistic reasons than for financial ones, at least in America”; and the situation is not markedly different in Canada: “[I]t is often only by working alone that an artist can earn a living” (33). Even the lone

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9

Sooudi, Olga Kanzaki. "Alternative Spaces & Artist Agency in the Art Market." Arts 9, no. 4 (2020): 116. http://dx.doi.org/10.3390/arts9040116.

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This article explores what alternative, or artist-led, spaces are in Mumbai today and their role within the city’s artworld. Drawing on ethnographic fieldwork in two alternative spaces, it argues that these are artist attempts to exercise agency in their work for an uncertain market context. In other words, these spaces are a strategy for artists to exercise control over their work in an uncertain art market, and a means to counterbalance their dependence on galleries in their careers. Furthermore, artists do so through collectivist practices. These spaces, I argue, challenge models of artisti

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Caire da Silva, Regiane Aparecida. "A formação do artista botânico no século XIX: fronteira entre ciência e arte." História da Ciência e Ensino: construindo interfaces 20 (December 29, 2019): 823–35. http://dx.doi.org/10.23925/2178-2911.2019v20espp823-835.

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ResumoA imagem botânica percorreu tendências e possibilidades técnicas singulares ao longo da sua história. Diferentes teorias influenciaram na representação das imagens das plantas, bem como a importante relação entre artista, desenhista, gravador e cientista, uma confluência entre teoria e prática - ciência e arte – apresentadas em edições fundamentais da historiografia botânica. Houve, portanto, a necessidade de formação do ilustrador para as edições científicas e de distingui-lo do artista paisagista ou pintor de flores. Contudo, essa distinção foi tênue, levando-se em conta que a própria

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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 redef

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Z.R., Khamzatova. "PHILOSOPHICAL AND CULTURAL ASPECTS OF UNDERSTANDING SOVIET PAINTING OF THE 60-80S OF THE XX CENTURY (BASED ON THE MATERIAL OF A. ASUKHANOV'S CREATIVITY)." “Educational bulletin “Consciousness” 24, no. 11 (2022): 83–91. http://dx.doi.org/10.26787/nydha-2686-6846-2022-24-11-83-91.

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The purpose of the article is a culturological analysis of the artistic creativity of Amanda Abasovich Asukhanov in the context of the development of Soviet painting in the 1960s-80s. The study involves the consideration of socio-cultural, regional, national-ethnic aspects, contemporary trends of the artist, which are manifested in the painting of the Honored Artist of Russia, People's Artist of the Chechen Republic, Honored Artist of the Republic of Dagestan, a representative of the first generation of Chechen artists who joined the Union of Artists of the USSR. From the point of view of the

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13

Çetin, Zeynep, and Cansu Yıldız Taşdemir. "Investigating Preschoolers’ Perception of Artists: Drawing an Artist." International Journal of Art & Design Education 41, no. 1 (2022): 171–88. http://dx.doi.org/10.1111/jade.12399.

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14

Anonymous. "Artist-Writers, Writer-Artists: An Anonymous Vox Pop." Circa, no. 122 (2007): 28. http://dx.doi.org/10.2307/25564856.

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15

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 Taip

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Luo, Yun, Pengcheng Xiang, and Bo Li. "Research on Sustainable Development Model of Chinese Artist Village." Buildings 13, no. 1 (2023): 164. http://dx.doi.org/10.3390/buildings13010164.

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As a development form of the creative industry, the Artist Village is a high concern of the Chinese government, and it has achieved rapid developments in China in recent years. However, many Artist Villages come to an untimely end a short period after their birth and fail to realize sustainable development. In this study, an empirical analysis on 80 Artist Villages in China was carried out. A field investigation and research on eight Artist Villages was implemented. Attention was paid to thoroughly analyze three typical Artist Villages of Guangzhou Xiaozhou Artist Village, Chongqing Gujianshan

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Cannon, Rob. "Beyond the headlines: media representations of artist discourse on the artist-label relationship." IASPM Journal 12, no. 1 (2022): 3–26. http://dx.doi.org/10.5429/2079-3871(2022)v12i1.2en.

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The relationship between artists and record labels is instrumental in developing successful artist careers. Such relationships are periodically discussed in the popular media, with a narrative that often casts them as disadvantageous for artists. However, there lacks formal research into the nature and quality of these relationships, and the factors that influence their outcomes.  Numerous published videographic media were analysed to investigate artists’ perspectives on the nature of these relationships, and the extent to which such perspectives aligned with media narratives.&#x0D

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Booth, Eric. "New Framework for Understanding the Field of Artists Who Work in Community and Education Settings." ENGAGE! Co-created Knowledge Serving the City 4, no. 1 (2022): 7–15. http://dx.doi.org/10.18060/26047.

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This paper presents a Framework for understanding the field of teaching artists (also known by other terms such as community artist, participatory artist, social practice artist, civic practice artist, artist-in-residence and more) in the U.S. and around the world. This paper describes the current state of the field, which is disparate and disorganized and suggests that previous ways of describing it have proved unhelpful. This pioneering Framework was developed in partnership with practitioners in many communities over years, and was vetted by practitioners in communities around the world to

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Grannemann, Hannah, and Amy Whitaker. "Artists’ Royalties and Performers’ Equity: A Ground-Up Approach to Social Impact Investment in Creative Fields." Cultural Management: Science and Education 3, no. 2 (2019): 33–52. http://dx.doi.org/10.30819/cmse.3-2.02.

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In this paper we argue that new models of artists’ royalties and performers’ equity can form the basis of social impact funds in the arts. Following the principle that those who contribute value should own part of it, we model social impact funds using a “value creation” lens, starting with royalties, profit shares, and other rights granted to visual artists, performers, and playwrights (referred to collectively as “artists”). We draw on data from DACS, the United Kingdom manager of the Artist Resale Right (ARR) and copyright licensing, as well as Arts Council England. We build on case studies

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20

Paek, Mihyun. "Exploring Generational Theory in Artists' Perception of Occupational Identity and Art Labor: for the second generation around the age of 40." Korean Society of Culture and Convergence 45, no. 3 (2023): 305–24. http://dx.doi.org/10.33645/cnc.2023.03.45.03.305.

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The purpose of this study is to explore the generational theory of artists' job identity and perception of artistic labor, and 16 artists around the age of 40 (30-59) were interviewed in-depth to interpret their perceptions. As a result of the study, no clear generational theory was confirmed around the age of 40. The same perception without generational differences is first, most of the participants consider the artist job to be an “incomplete” job that cannot be compensated for their livelihood, and hope to become a “full-time Artist” before they die. Second, they pursue the spirit of “spiri

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Navndrup Black, Laura. "From artist to artist-researcher *." Peripeti 18, no. 33 (2021): 26–35. http://dx.doi.org/10.7146/peri.v18i33.124623.

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Presenting a personal account of some of the methodological considerations connected to making the shift from artist to artist researcher, this article asks: how does one create favourable conditions for valid moments of insight to occur in a practice that focuses on participatory choreographic practices involving children and young people? The article unpacks the tangled relationship between ‘practice’ and ‘research,’ and the author proposes the term practice-driven research to suggest an approach where the artistic practice is both the object, the method and the outcome of the research. Draw

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Galindo, Mateo, and Michele Thursz. "Contemporary Strategies of Sonic Agency." Resonance: The Journal of Sound and Culture 5, no. 1 (2024): 51–81. http://dx.doi.org/10.1525/res.2024.5.1.51.

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As an institutional resident at the International Studio and Curatorial Program (ISCP) in New York City, Mateo Galindo of Atomic Culture curated an exhibition of nine artists whose work is at the forefront of a new current in the art world, particularly with their engagements of sound. Wave Phenomena: Contemporary Strategies of Sonic Agency was on view from September 2023 to January 2024; it examined the use of sound as a catalyst for personal, political, spiritual, and environmental considerations. Michele Thursz invited Galindo to select a few artists from the exhibition and engage them in a

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Kupchyk, Xenia. "Nil Khasevych — creator of UPA combat graphics." Вісник Книжкової палати, no. 11 (March 24, 2022): 42–44. http://dx.doi.org/10.36273/2076-9555.2020.11(292).42-44.

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Ukrainian art of the twentieth century in the world context it is represented by a whole galaxy of diaspora artists. One such figure is Neil Khasevych, a prominent Ukrainian artist, graphic artist, public and politicalfigure, and member of the OUN.

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Félix-Jäger, Steven. "Creational Aesthetics and the Challenge of Conceptual Art." Religion and the Arts 20, no. 5 (2016): 663–73. http://dx.doi.org/10.1163/15685292-02005005.

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A trend in theological aesthetics is to advocate for a “creational aesthetic” when discussing the ontology and calling of the artist. In its essential form, a creational aesthetic affirms that artists honor the Creator God by creating art. In some way artists are functioning as God’s image when they make art. While this view is popular in the Christian engagement of the arts, it is uncertain if such an observation is the preeminent way of understanding the role of the artist. Can one be considered an artist if s/he is removed from the tactile process of making? In the contemporary art world, t

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Tahlina, Yuliia, and Nataliia Ivanova. "ARTISTIC RESIDENCIES IN CONTEXT: CULTURAL DYNAMICS." Journal of V. N. Karazin Kharkiv National University, Series "The Theory of Culture and Philosophy of Science", no. 68 (December 3, 2023): 13–24. https://doi.org/10.26565/2306-6687-2023-68-02.

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This paper explores the multifaceted nature and evolving roles of artist residencies, emphasizing their significance in fostering creative development and social engagement. Over the past two decades, artist residencies have diversified, offering a variety of formats, from rural retreats to urban institutional residencies. These programs provide artists withdedicated time and space, away from their usual environments, enabling deeper creative engagement and innovation. The research underscores the increasing emphasis on community involvement and social activism within residencies, highlighting

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Mevorah, Vera, Jelena Guga, and Cedomir Markov. "Divine genius, subversive hero, or creative entrepreneur? Exploring various facets of the artist as a mythical figure." Bulletin de l'Institut etnographique 71, no. 1 (2023): 99–121. http://dx.doi.org/10.2298/gei2301099m.

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People have always related art to the creation and transmission of myths. While myth as a theme in art has been thoroughly addressed, research about the ?mythic? nature of the artist figure is far less common. The 20th and 21st centuries brought challenges to the status of art and artists in society, historically situated archetypes and stereotypes that we associate with the figure of the ?artist? still survive to this day (e.g. ?genius?, ?subversive artists?, ?child prodigy?, ?eccentric?, etc.). In this paper, we set out to analyze various tropes used persistently to describe artists and expl

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Rivero Moreno, Luis D. "Artista contemporáneo busca público al que enfrentarse. Sobre el arte como hecho comunicativo." Liño 23, no. 23 (2017): 147. http://dx.doi.org/10.17811/li.23.2017.147-158.

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RESUMEN:Desde comienzos del siglo XX, el objetivo de la vanguardia fue la ruptura con los condicionantes que limitaban la comunicación en el hecho artístico. Las tentativas de hacer fluir la comunicación entre artista y público se han basado en diversas estrategias: de la socialización de la creación a la disolución material de la obra como elemento intermedio. Gran parte del arte contemporáneo ha tratado de convertir al público en partícipe, o bien conseguir involucrar al artista en la sociedad. Una tercera salida será la de la presencia física de artista y público en un mismo lugar y mismo t

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Tan, Selim. "Separating the Music from the Artist: Immoral Artists and Musical Reception." Eurasian Journal of Music and Dance, no. 26 (June 30, 2025): 208–22. https://doi.org/10.31722/ejmd.1567347.

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This paper examines how audiences’ perceptions and evaluations of music are affected after an incident that undermines the moral legitimacy of admired artists. It investigates the extent to which music can be perceived separately from the artist, and the attitudes, actions, and strategies adopted in possible attempts to dissociate the two. The physical bond between the artist and the music—referred to as “authenticity as authentication”—in which the audience and the artist share a role, is analyzed in detail. The construction of authenticity toward the artist as author is explored within the f

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Demir, Duygu. "Introduction to İsmail Saray's Leonardo da Vinci." ARTMargins 3, no. 3 (2014): 111–25. http://dx.doi.org/10.1162/artm_r_00097.

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Aiming to contextualize Turkish artist İsmail Saray's artist book Leonardo da Vinci (1976), this text centers around the artist's educational formation and the early years of his artistic practice between the years of 1973–1980, when he was based in Turkey. Tracing key moments in this period including his participation in the Paris Biennial of 1977, the Yeni Eğilimler [New Trends in Art] exhibition of 1979 in Istanbul as well as his guest appearance in the exhibition Sanat Olarak Betik [Book as Art] organized by the conceptualist artist collective Sanat Tanım Topluluğu. This essay also gives a

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Saray, İsmail. "Leonardo da Vinci." ARTMargins 3, no. 3 (2014): 126–30. http://dx.doi.org/10.1162/artm_r_00098.

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Aiming to contextualize Turkish artist İsmail Saray's artist book Leonardo da Vinci (1976), this text centers around the artist's educational formation and the early years of his artistic practice between the years of 1973–1980, when he was based in Turkey. Tracing key moments in this period including his participation in the Paris Biennial of 1977, the Yeni Eğilimler [New Trends in Art] exhibition of 1979 in Istanbul as well as his guest appearance in the exhibition Sanat Olarak Betik [Book as Art] organized by the conceptualist artist collective Sanat Tanım Topluluğu. This essay also gives a

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Griniuk, Marija. "Crossroads of Eastern Europe and the Arctic North – Artistic Personas and Creative Processes of Border-Crossing Artists." Migration Letters 20, no. 4 (2023): 97–105. http://dx.doi.org/10.47059/ml.v20i4.3196.

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This essay explores the development of an artistic persona and choices within the creative processes of border-crossing artists. Similar to the act of border crossing, the transcorporeal experience contains attempts to enter the unity of the body of the artist and the artwork with the socio-politics of the new site for artistic expression. In the action of border-crossing, artistic practice enters the holistic approach as the human, functioning in the new and unfamiliar society, and as the artist, thus continually shaping the individual’s artistic persona and artistic voice. The focus group da

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Jazmine, Kelly R. Ayuman, C. Lacorte Marianne, and Rollyn D. Vallespin Mc. "Discerning Digital from Canvas: Investigating Visual Distinction between AI-Generated Art and Actual Art among Far Eastern University's Institute of Architecture and Fine Arts (IARFA) and Non-IARFA Students." International Journal of Current Science Research and Review 07, no. 05 (2024): 2793–800. https://doi.org/10.5281/zenodo.11191073.

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Abstract : Artificial Intelligence is one of the current generation’s inventions that has been widely used. It has helped make lives easier, especially regarding appliances and business, and it has also altered various industries, including the arts. However, this development has sparked different perspectives among artists and non-artists. This study aims to evaluate how students, both artists, and non-artists, perceive the differences between real art and artificial intelligence-generated art. For this study, a total of fifty (50) students will be gathered, consisting of twenty-five (2

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Levytska, Oksana, and Nataliya Mocherniuk. "LITERARY REPRESENTATION OF AN ARTIST'S WORKSHOP AS AN INTERMEDIAL SPACE." Knjizevna smotra : Journal of World Literature, Vol. 55 No. 207(1), 2023. 15, Vol. 55 No. 207(1), 2023 (2023): 23–38. https://doi.org/10.5281/zenodo.15223502.

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The paper researches an artist’s workshop as a specific space and subject of artistic representationsin literary works. The Ukrainian nineteenth- and twentieth-century fiction, as well as memoirs and testimony, were used to analyze the interplay of different arts in the creative space of an artist; functionality of the art workshops during differentcultural and historical periods in various cultural environments have been discussed. A distinction has been drawn between the presentation characteristic of artists and that of writers who describe the artist’s workshops; focus is place

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Yalamov, Todor. "Transformation of Graphic into Conceptual Artist: Innovations, Games and Improvisations." Filosofiya-Philosophy 30, no. 4 (2021): 413–22. http://dx.doi.org/10.53656/phil2021-04-08.

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The paper problematizes the work and evolution of a Bulgarian artist from the point of view of the biographical approach, his artistic interventions and his re-legitimization as a contemporary artist. It discusses various aspects of contemporary art from the point of view of the artist, his interventions, market demands, the underlying contradictions, as well as the transformative tendencies in the small graphics. The paper argues that it is necessary to expand the understanding of contemporary art with certain actions of artists.

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KALANOV, Asliddin. "CINEMATOGRAPHY AND ARTIST." Art and Design: Social Science 02, no. 01 (2022): 1–3. http://dx.doi.org/10.37547/ssa-v2-i1-1.

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The article discusses the work of Khudoibergan Devonov (1879-1940), the founder of Uzbek cinema, the first Uzbek photographer and cinematographer. The report also discusses Varsham Yeremyan, a pre-production artist at the "Sharq Yulduz" studio, and later artists working at the "Uzbekfilm" studio. E. Kalontarov, who has been involved in the production of several films as a leading artist at the Uzbekfilm studio since 1959, later contributed to the development of Uzbek cinematography in collaboration with B. Nazarov, K. Nuriddinov and later directors.

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Melnyk, Myroslava. "Improvisation as One of the Most Important Aspects of the Variety Artist Professional Skills." Bulletin of KNUKiM. Series in Arts, no. 39 (December 10, 2018): 50–57. https://doi.org/10.31866/2410-1176.39.2018.153653.

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The purpose of the article is to find out the specific features of the variety artists improvisation, been quite different from the theatre actors. Methodology of the research. The study addresses to such methods of analysis as theoretical, empirical, and comparative ones. On the basis of the detailed analysis, the author determines the role of improvisation as a skilful reception in the artist’s work; highlights the principles of the practical scenic skills of improvisation formation of the variety artists. The scientific novelty consists in revealing the charac

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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 inte

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Tayler, Felicity. "Artists’ publications, artist-run centres and alternative distribution in Canada." Art Libraries Journal 30, no. 1 (2005): 29–36. http://dx.doi.org/10.1017/s0307472200013821.

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At the Tiré à part conference held in Quebec city in October 2003, speakers from artist-run centres from across Canada discussed 30 years of experience in publishing. Themes such as audience, production, funding, professionalisation and distribution encouraged the identification and exploration of current issues. These are put in context here by a general overview of the development of the genre as well as a short history of production by artist-run centres such as Art Metropole, Artspeak, Artexte and the Bookmobile project.

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39

Krolow, Karl, and Stuart Friebert. "Artist." Iowa Review 17, no. 3 (1987): 105. http://dx.doi.org/10.17077/0021-065x.3568.

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40

Walker, Una. "Artist." Circa, no. 102 (2002): 46. http://dx.doi.org/10.2307/25563881.

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41

Finley, Susan, and J. Gary Knowles. "Researcher as Artist/Artist as Researcher." Qualitative Inquiry 1, no. 1 (1995): 110–42. http://dx.doi.org/10.1177/107780049500100107.

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42

Feser, Frauke. "The visiting artist researcher experiment." Journal of Science Communication 14, no. 01 (2015): C02. http://dx.doi.org/10.22323/2.14010302.

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The visiting artist researcher experiment discussed here brought together visual artists and climate scientists, amongst them my research group which studies storms. The artists’ stay led to a dialogue between our diverging perspectives and an open exchange of ideas. The exchange in my research group was more interactive than I had expected. Many conversations provided insights into ideas and work flows of the artists and, eventually, a new view on our storm studies.

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43

Park, Jinsu. "Bayesian Hedonic Pricing Model: An Application to the Price-Creation Time Association in Artworks." Korean Data Analysis Society 27, no. 3 (2025): 809–22. https://doi.org/10.37727/jkdas.2025.27.3.809.

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The formation of artwork prices is influenced by various factors, including the artist’s reputation, the characteristics of the artwork, and the time of creation. In this study, we propose a Bayesian hedonic pricing model to analyze the heterogeneity among artists in the relationship between artwork prices and their time of creation, using auction data from a large number of contemporary artists. Specifically, we construct a hierarchical model that incorporates artist-specific random effects, allowing the effect of the year of work to vary across artists. To account for the correlation between

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44

Meng, Qian. "The Music Image in the Image — On the Visual Representation of the Music Image in the Painting Exhibition of Qiu Xiaofei." Arts Studies and Criticism 3, no. 2 (2022): 217. http://dx.doi.org/10.32629/asc.v3i2.919.

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Qiu Xiaofei, an artist, is one of the most popular artists among the post-70 generation of Chinese contemporary painting. You can see from his painting creation, the subject matter of painting works and the working way of creation all start from the artistic concept similar to image text. When artists explain their paintings, the capriciousness of painting creation and the lyricism presented in the works are inseparable from the artist's infatuation with music. In this paper, from the perspective of imagology, through the analysis of the artist Qiu Xiaofei's painting creation of music images i

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45

Silva, André Luiz Nunes da, and Cristina Moura Emboaba da Costa Julião de Camargo. "A Transformação da Produção Musical Independente de Canções no Século XXI." Revista da Tulha 10, no. 1 (2024): 251–90. http://dx.doi.org/10.11606/issn.2447-7117.rt.2024.224197.

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Independent record labels and their often implicit relationship with major labels are one of the themes investigated in this historical retrospective through exploratory research with bibliographic review that addresses the musical landscape in which independent artists are embedded. Due to the complexity and breadth of the topic of independent production in the music industry, it was chosen to explore not only the structure of independent record labels but also the nature of independent scenes themselves. For this purpose, categories such as "independent artist," "artist direct" (Mulligan, Ma

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46

Choirun Nisak, Anis, and Wahdiyat Moko. "The effect of social media usage and innovation on makeup artist business performance by mediating competitive advantage." International Journal of Research in Business and Social Science (2147- 4478) 13, no. 3 (2024): 85–96. http://dx.doi.org/10.20525/ijrbs.v13i3.3278.

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The creative economy industry has created millions of jobs in Indonesia. One of the creative economy fields in Indonesia is makeup artist. But the makeup artist field also has many challenges in the increasingly fierce business competition. This research aims to investigate the influence of social media usage, innovation and competitive advantage on makeup artist business performance by considering the role competitive advantage as mediators. This research was conducted in Malang Raya with a focus on the makeup artist services business. The research method used was a survey with a questionnair

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47

Loughran, Sandra. "An Artist among Young Artists: A Lesson for Teachers." Childhood Education 77, no. 4 (2001): 204–8. http://dx.doi.org/10.1080/00094056.2001.10522165.

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Wilson, Amanda. "Multistable Perception of Art-Science Imagery." Leonardo 45, no. 2 (2012): 156–64. http://dx.doi.org/10.1162/leon_a_00282.

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How do artists, scientists and artist-scientists view images, and how does their cultural background affect their interpretation? The author proposes that artist-scientists may exhibit cultural multistability, akin to the perceptual multistability associated with viewing visual illusions such as the Necker cube. After carrying out a survey, the author suggests that all individuals may exhibit cultural multistability in response to a challenging image. The author postulates a tendency of artist-scientists to use textural descriptions and discusses coming to see her own images in a new light.

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Ledo, Melissa-Ann, and Siibii Petawabano. "I Would Not Have Made That Leap: Art as the Vehicle to Tell Your Story, Connect and Build Relationships." LEARNing Landscapes 17, no. 1 (2024): 15–26. http://dx.doi.org/10.36510/learnland.v17i1.1116.

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Our commentary includes an introduction to, and conversation sparked by, the Cree School Board’s Mikw Chiyâm, a secondary school program that engages in an artist-in-residence model. This is a dialogue between Melissa-Ann Pereira Ledo, settler queer educator/researcher/artist, and Siibii Petawabano, one of the first students who was part of the pilot program in the First Nation community of Mistissini in 2015. In 2021, after making “the leap” to become a professional artist-musician, Siibii returned to the program as one of the artists in residency themselves.

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Spasic, Vanja. "The status of opera artist at the national theatre in belgrade from 1970 to 1980." Muzikologija, no. 24 (2018): 131–49. http://dx.doi.org/10.2298/muz1824131s.

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This article deals with the status of the opera artist in the National Theatre in Belgrade in the 1970s. The status of an opera artist is analysed from two, relatively independent standpoints. The first level includes the artist?s position as an employed person in the institution, and the other - his social position at the final stage of the self-management socialism, which was the ideological and organisational framework of the Yugoslav cultural policy in the aforementioned period. The main idea of this article is to utilize the approaches of various sciences - sociology of art, cultural poli

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