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Articoli di riviste sul tema "Artists"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 25 luglio 2025

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1

Feyerabend, Paul. "Theoreticians, Artists and Artisans." Leonardo 29, no. 1 (1996): 23. http://dx.doi.org/10.2307/1576272.

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Campbell, Erin J. "Artisans, Artists and Intellectuals." Art History 23, no. 4 (2000): 622–26. http://dx.doi.org/10.1111/1467-8365.00229.

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3

Primel, Casey, Anupama Rao, and Susanna Ferguson. "On Artists and Artisans." Comparative Studies of South Asia, Africa and the Middle East 35, no. 3 (2015): 486–91. http://dx.doi.org/10.1215/1089201x-3426337.

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4

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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5

Braden, L. E. A. "Networks Created Within Exhibition: The Curators’ Effect on Historical Recognition." American Behavioral Scientist 65, no. 1 (2018): 25–43. http://dx.doi.org/10.1177/0002764218800145.

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This research examines artist networks created by shared museum exhibition. While previous research on artistic careers assesses self-cultivated networks, historical recognition may be further influenced by connections created by important others, such as museum curators and art historians. I argue when museum exhibitions show artists together, curators are creating symbolic associations between artists that signal the artist’s import and contextualization within his or her peer group. These exhibition-created associations, in turn, influence historians who must choose a small selection of art

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Traduzido por Talita Trizoli, Howardena Pindell. "CONSELHOS PARA UM JOVEM ARTISTA NEGRO / Advices to a young black artist." arte e ensaios 27, no. 42 (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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Jang, Yeonjoo, and Nayeun Choi. "Artists’ Mental Health Research: Trend and Future Directions." Korean Society of Culture and Convergence 44, no. 5 (2022): 529–48. http://dx.doi.org/10.33645/cnc.2022.5.44.5.529.

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This research aims to define artists by examining relevant laws and previous research related to the mental health of Korean artists. Further, this study aims to present the direction for future research on mental health of artists by systematically analyzing research trends. The research questions to be examined in this study are, first, what is the current status of research related to artists' mental health? Second, what research topics are related to artists' mental health? Third, what is the future of research on artist's mental health? A total of 26 articles and dissertations published i

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8

Harris, Catherine T., Philip J. Perricone, and Margaret Supplee Smith. "The Artist and Androgyny: A Study of Gender Identity in Visual Artists." Empirical Studies of the Arts 6, no. 1 (1988): 67–78. http://dx.doi.org/10.2190/9p69-xcur-c3na-2dck.

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While art is an activity that is socially valued, the image of the artist as perceived by the public and expressed in the literature has rarely been studied empirically. The Adjective Check List is used to test one dimension of this issue—June Wayne's hypothesis that the artist is a stereotypical woman, focusing on the artist's view of himself/herself and artists in general. Data were gathered by means of a questionnaire mailed to 1753 artists who had been nominated for the national Awards in Visual Arts during the first five years of the program (1982–86). It was found that artists tend to ha

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9

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

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Franc, Małgorzata. "Training of Artists or Artisans?" ART Space, no. 3 (2018): 8–11. http://dx.doi.org/10.28925/2519-4135.4.2018.3.2.

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The article analyses the situation in Polish art education after 1990. It is indicated that higher art education in Poland can be obtained in eighteen universities and five affiliates in eleven Polish cities. The complex situation of higher art education is examined. The role of applied arts is noted.

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Lewis, Johanna Miller, Barbara Crawford, and Royster Lyle Jr. "Rockbridge County Artists and Artisans." Journal of Southern History 63, no. 1 (1997): 146. http://dx.doi.org/10.2307/2211952.

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Kim, Yunsoo. "Discussion based on the Copyright Law about When the Artist Controverts the Decision on Artwork’s Authenticity: Focusing on the Artist’s Disavowal Cases." Korea Copyright Commission 140 (December 31, 2022): 215–52. http://dx.doi.org/10.30582/kdps.2022.35.4.215.

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Cases that the artists denied the works which were known to be their own works (i. e. forgery cases) have been raised for a long time. Also, there were cases that the artist voluntarily acknowledged a forgery as the authentic work of the artist. There are various reasons why artists carry through their arguments that contradict the facts and court’s decision of the authenticity of the artwork in issue; to defend the artist's own social honor or subjective honor, or to strongly express the artist’s favor on the usage or ownership of the work, or due to some other interest matters related the wo

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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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Dobbs, Todd, Abdullah-Al-Raihan Nayeem, Isaac Cho, and Zbigniew Ras. "Contemporary Art Authentication with Large-Scale Classification." Big Data and Cognitive Computing 7, no. 4 (2023): 162. http://dx.doi.org/10.3390/bdcc7040162.

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Art authentication is the process of identifying the artist who created a piece of artwork and is manifested through events of provenance, such as art gallery exhibitions and financial transactions. Art authentication has visual influence via the uniqueness of the artist’s style in contrast to the style of another artist. The significance of this contrast is proportional to the number of artists involved and the degree of uniqueness of an artist’s collection. This visual uniqueness of style can be captured in a mathematical model produced by a machine learning (ML) algorithm on painting images

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Lindström, Sofia. "Artists and Multiple Job Holding—Breadwinning Work as Mediating Between Bohemian and Entrepreneurial Identities and Behavior." Nordic Journal of Working Life Studies 6, no. 3 (2016): 43. http://dx.doi.org/10.19154/njwls.v6i3.5527.

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Artists are known to manage low income and work insecurity by holding multiple jobs. Through an analysis of interview data, this study explores the narratives of 20 visual artists in Sweden regarding breadwinning work. Positive and negative experiences of such work are analyzed in relation to the artists’ work behavior and identity as either ‘bohemian’ or ‘entrepreneurial.’ Breadwinning work may be seen by artists as either enabling autonomy from the market or hindering the construction of a professional identity, depending on these behaviors/identities. However, conditions such as low wage, t

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Lee, Jisoo, and Jong Woo Jun. "Personal Branding in Art: A Focus on In Depth-Interview with Art Workers." Korean Society of Culture and Convergence 45, no. 5 (2023): 305–17. http://dx.doi.org/10.33645/cnc.2023.05.45.05.305.

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This study viewed art as an industry and discussed strategies for artists to establish themselves as important members of the art market. The brand strategy of viewing and managing individual artists as an independent personal brand was explored. We explored the potential of individual brands for Kim Whanki, Kim Tscang-yeul, and Lee Kang-so to find out about the brand identity of Korean artists. In-depth interviews were conducted with people in the art industry. They answered that building an artist's identity, continuity of activity, and active use of SNS are important factors for artists to

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Mirkovic, Luka. "Hegemonies in Art: Struggles of an Aspiring Artist." Journal of Extreme Anthropology 1, no. 2 (2017): 35–40. http://dx.doi.org/10.5617/jea.4884.

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A student essay for the Special Student Issue of the Journal of Extreme Anthropology accompanying the art exhibition 'Artist's Waste, Wasted Artists', which opened in Vienna on the 19th of September 2017 and was curated by the students of social anthropology at the University of Vienna. This essay considers the pressures young artists face in the contemporary art world, illustrated on the case of a young Viennese artist Kathrin Zobl.

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Sobieraj, Kamila. "Ocena skutków regulacji poselskiego projektu ustawy o statusie artysty zawodowego." Zeszyty Prawnicze Biura Analiz Sejmowych 1, no. 69 (2021): 127–34. http://dx.doi.org/10.31268/zpbas.2021.08.

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The author discusses the basic assumptions of the planned regulation of the professional artist’s status in Polish legal system, including: the establishment of the Polish Chamber of Artists, the rules and method of confirming and verifying the status of a professional artist, and defining the rights of these artists. The author states that in order to achieve the ratio legis of the Bill, the regulations of the act should guarantee the full independence, impartiality of the Chamber’s activities and the possession of expert competences by the members of the Council of the Polish Chamber of Arti

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Balaišytė, Lina. "Dailininkas XVIII amžiuje: karjeros galimybės." Lietuvos Didžioji Kunigaikštystė Luomas. Pašaukimas. Užsiėmimas, T. 5 (November 14, 2019): 229–53. http://dx.doi.org/10.33918/23516968-005011.

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THE ARTIST IN THE EIGHTEENTH CENTURY: CAREER OPPORTUNITIES The article is dedicated to discussion about the opportunities artists had in the eighteenth-century Grand Duchy of Lithuania, what factors were defining artist’s career and his valuation and how it changed along with social and cultural shifts in the country. Historical sources retain names of around 700 artists that worked in the eighteenth-century Grand Duchy of Lithuania. The artists belonged to a peculiar inter-estate stratum with significant differences in education, social and economic situation. Majority of artists lived and wo

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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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Haffner, Dorothee. "Artists' estates: keep or get rid of them?" Art Libraries Journal 41, no. 1 (2016): 56–61. http://dx.doi.org/10.1017/alj.2015.9.

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The fate of the estates (Nachlässe) of visual artists are as varied as the fortunes of the artists themselves.2 It is only the well-known, high value artists with considerable resources who have the means to create their own museum or archive.3 Yet the storage and preservation of the vast remains of artists' estates is an increasingly urgent matter. Artist output has dramatically increased since the middle of the 20th century, as has the awareness of the importance of artists bequests. Artists have often taken matters into their own hands while they are still living. More often though, it is t

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Hou, Qianhui, and Huawei Wen. "Emotional Expression of Young Artists — Take Artists like Yoshitomo Nara as an Example." Arts Studies and Criticism 3, no. 2 (2022): 186. http://dx.doi.org/10.32629/asc.v3i2.912.

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In the development of contemporary young artists, emotion is one of the main factors that are indispensable in creation. The article takes Yoshitomo Nara as the main research object, and explores how young artists rely on emotions to create works that not only make people pleasing to the eye, but also capture people's inner feelings and resonate with viewers. At the same time, we will study the significance of childhood memories affecting the artist's creation, as well as the influence of the environment on the artist in the creation. Among artists with similar styles, how othes will express t

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Singh, Sarabjeet. "ABSTRACTION IN REFLECTION BY KISHAN MEENA: TANTRISM IN VISUALS (THE SOUL OF WATER)." ShodhKosh: Journal of Visual and Performing Arts 4, no. 1 (2023): 1–8. http://dx.doi.org/10.29121/shodhkosh.v4.i1.2023.263.

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The thinking of the modern artists created a vision of looking at artwork and new subjects in a new way. As a result, abstract art emerged as a feature of modern art. The artists present abstract art with his different perspective and medium. Photography is a modern and fast medium that is able to present the artist's thinking in a different way. Fine arts photography presents the viewer by shaping the artist's vision. The artist uses photography as a medium to create his own ideas. Photography has presented Tantra art as well by providing a visual look with modernity and digitally as well. In

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AYTEKİN, Cemile Arzu, and Aşkın BAHADIR. "PSYCHOANALYTIC ANALYSIS OF TWO FEMINIST ARTISTS AUTOBIOGRAPHIC ART WORKS." SOCIAL SCIENCE DEVELOPMENT JOURNAL 7, no. 34 (2022): 161–85. http://dx.doi.org/10.31567/ssd.765.

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The psychoanalytic analysis method aims to identify the artist's life experiences, traumas, traces of his self and traces of his psychic structure in the work revealed in the visual arts. The facts intended to be revealed in question reveal the autobiography of the artist in his work. While examining the psychic structure of the artist, it was determined that the artist produced autobiographical works with a Feminist approach, sometimes with life experiences and early effects on the artist's psyche. While feminist artists aimed to defend gender equality and women's rights and freedoms, they re

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Rafiq qızı Əliyeva, Vüsalə. "Artistic solution of Absheron’s theme in Jalal Agayev’s work." SCIENTIFIC WORK 66, no. 05 (2021): 164–67. http://dx.doi.org/10.36719/2663-4619/66/164-167.

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There is a group of artists in contemporary Azerbaijani fine arts, whose creative works focus on the theme of Absheron. For half a century, this theme has defined the style of most of our artists with its specificity, rich ethnography, national harmony and lyrics. Jalal Aghayev is one of such artists, and the theme of Absheron covers a large part of his creative work. The inexhaustible love for the land of Absheron has been rooted in the artist's heart since childhood. This love led the artist to create a series of beautiful works on this subject. Key words: landscape, Absheron, painting, trad

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Chyrkova, Nadiia. "Questionnaires of Artists as a Method of Contemporary Art Conservation." Bulletin of Lviv National Academy of Arts, no. 53 (November 27, 2024): 114–18. https://doi.org/10.37131/2524-0943-2024-53-11.

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The article highlights the transformation and alternative approach to conservation as the main criterion for the restoration of modern art, which implies preserving the author's idealism. The resistance against poor-quality restoration originated in the 19th century when artists began to express their attitude toward restoration. Later, the focus switched to a new narrative. Artists would state that the materiality of the work is no longer the main goal of restoration, the most important thing is the preservation of their original idea. In modern conservation, a widely accepted approach is to

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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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Pérez Ibáñez, Marta, and Isidro López-Aparicio. "Actividad artística y precariedad laboral en España: análisis a partir de un estudio global." Arte y Políticas de Identidad 19 (December 30, 2018): 49–66. http://dx.doi.org/10.6018/reapi.359771.

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Este artículo, fruto de un proyecto de investigación interdisciplinar, pretende contextualizar la actividad profesional de los artistas plásticos y visuales en España, en las actuales circunstancias económicas, sociales y laborales. En primer lugar, ante la compleja problemática sobre la consideración de artista profesional y ante la ausencia de registros y censos específicos que permitan estudiar este sector, delimitamos los criterios que lo definen y la relación entre su identidad, su actividad, su rendimiento económico, y analizamos su conexión con el resto del sistema del arte. Posteriorme

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Piemontese, Marc. "Les Artistes et la Lumière: Artists and Light." Leonardo 26, no. 1 (1993): 70. http://dx.doi.org/10.2307/1575784.

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Midhin, Majeed Mohammed, and Ahmed Hameed Obeid. "An Analytical Study of Theatre and censorship in Howard Barker’s No End of Blame: Scenes of Overcoming (1981) and Scenes from an Execution (1984)." Dirasat: Human and Social Sciences 50, no. 6 (2023): 265–75. http://dx.doi.org/10.35516/hum.v50i6.7081.

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Objectives: This paper explores the use of history in contemporary British theatre to address issues like marginalization and censorship, focusing on Barker's theatre theory, which diverges from early works by Churchill and Hare. Emphasizing the artist's role and responsibilities, it delves into potential dilemmas faced in the realm of contemporary British theatre.  Methods: This study critically analyzes Barker's plays, "No End of Blame: Scenes of Overcoming" (1981) and "Scenes from an Execution" (1984), through the lens of his influential book, "Arguments for a Theatre." Additionally,

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Li, Xinqi. "Breaking through the Traditional barrier: the Performability of Asian Action performance Calligraphy." BCP Social Sciences & Humanities 17 (May 10, 2022): 295–302. http://dx.doi.org/10.54691/bcpssh.v17i.670.

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This article in Harold rosenberg of the proposed action painting, on the basis of the Asia movement performance calligraphy this specifically for the art of calligraphy artist form new schools were discussed, based on a number of calligraphy artist used by art material, creative process, and the comparison of relevant context and discourse, to introduce a number of calligraphy artist's unique art form. The feedback of interviews with artists will be used as references and their representative views will be presented completely. It proves that the performance forms and artistic concepts of Asia

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GROSS, Eduard Claudiu. "The Artists in the Branded World. A Theoretical Approach to Artist Personal Branding." Journal of Media Research 15, no. 2 (43) (2022): 56–68. http://dx.doi.org/10.24193/jmr.43.4.

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This paper presents the need for artists to develop the ability to promote their work through marketing and communication theories. Currently, marketing is not an essential component for art faculties and artists in general. Through Personal Branding, emerging artists would have the chance to grow and build their audience and reputation without depending on curators, art critics, and museums. This paper emerges in a difficult context for the arts sector following an unprecedented health crisis that has deeply affected the labor market. In addition to summarizing the current literature, this st

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

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

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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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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

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Speight, Allen. "Artisans, Artists and Hegel's History of Art." Hegel Bulletin 34, no. 2 (2013): 203–22. http://dx.doi.org/10.1017/hgl.2013.12.

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This article examines Hegel's use of the distinction between ‘artist’ (Künstler) and ‘artisan’ (Werkmeister) in light of recent discussion about the ‘end’ of art and the distinction betweeen art and craft that, as some have argued, has been central to the concept of the fine arts since the eighteenth century. Hegel does employ an important distinction between artist and artisan, but he does so within a larger account of the continuum of forms of human making that can take into consideration the importance of the artisan's work as well as the artist's. Hegel's account involves two distinctive f

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Zhang, Yujie. "How Can Curators in Today's Art World Help Emerging Chinese Artists to Increase the Commercial Value of Their Artworks?" International Journal of Education and Humanities 17, no. 1 (2024): 40–48. http://dx.doi.org/10.54097/n8wjdt66.

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The changing landscape of the art world drives consumer preferences, and emerging trends in art and technology. While the art world is constantly evolving, there are many emerging artists, but very few of them have made it to the top. One of the challenges that hinder the emerging artist community is finding buyers for their artworks and connecting with galleries, fairs and exhibitions to increase their commercial value of the artworks. Although the Asian market has grown and gained real recognition compared to previous decades, it is surprising that China’s emerging artists are still struggli

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Brady, Lizz. "Not outsider artists—just artists." Lancet Psychiatry 4, no. 2 (2017): 99. http://dx.doi.org/10.1016/s2215-0366(16)30446-1.

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Gupta, Pooja. "REFLECTION OF SOCIETY IN THE REFERENCE OF PAINTINGS." International Journal of Research -GRANTHAALAYAH 7, no. 11 (2019): 114–45. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3723.

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Abstract (sommario):

The relation of visual art, artists and society is the focal point around which this paper rotates. There exists a reciprocal connection between the three, which has to be comprehended concurrently. Society needs art, and artists not only for enriching its culture, but also for the very development of humankind. This mutual relationship is consequently set beneath the sociological microscope and an effort has been made to comprehend the diverse nuances of the lives of the respondent artists. An artist is dependent in one way or another on other people around him and is enmeshed in a whole seri

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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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Abstract (sommario):

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 und

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Ekasari, Raudha Putri, Marlinda Irwanti, Burhan Bungin, and Jamalullail Jamalullail. "Makeup Artist Communication Mix Model in Jakarta." Pancasila International Journal of Applied Social Science 2, no. 02 (2024): 292–311. http://dx.doi.org/10.59653/pancasila.v2i02.623.

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Abstract (sommario):

Makeup Artist as a business-to-consumer (B2C) that focuses on providing direct services to individual clients. Since the Covid-19 pandemic, digital marketing has been increasingly relied upon to reach users. Content optimization through social media is an effective strategy in reaching users. Through phenomenology involving a number of prominent Makeup Artists in Jakarta, this research explores the use of Communication Mix tools used by Makeup Artists in marketing their services. A qualitative research method with color coding was used for the case studies in this research. The Communication M

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Legret, Mathilde. "The Vocational Regime in Art: On Myths and Performativity." Journal of Extreme Anthropology 1, no. 2 (2017): 41–47. http://dx.doi.org/10.5617/jea.4886.

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A student essay for the Special Student Issue of the Journal of Extreme Anthropology accompanying the art exhibition 'Artist's Waste, Wasted Artists', which opened in Vienna on the 19th of September 2017 and was curated by the students of social anthropology at the University of Vienna. This essay analyzes the development and mythology behind the notion of 'vocation' within the art world, while using the case of the Viennese artist Ursula Hübner. It argues that it is not only art institutions and the society, but also artists themselves who are complicit in the reproduction and valorization of

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Borowitz, Maggie. "“To Make Books Is to Multiply”: Artists' Books and Feminist Expression in Mexico." ARTMargins 12, no. 3 (2023): 7–29. http://dx.doi.org/10.1162/artm_a_00361.

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Abstract (sommario):

Abstract In the late 1970s and early 80s, artist's books exploded in Mexico City. The impetus for this explosion has often been located in the artistic practice of the experimental artist Felipe Ehrenberg and the bookmaking workshops he offered beginning in 1976. While Ehrenberg was undoubtedly influential, this essay reexamines the history of this period—a so-called Golden Epoch of independent publishing in Mexico––in order to recuperate the significant role that feminist-aligned artists played in advancing the medium of the artist's book. In particular, I examine early editions produced by t

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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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Abstract (sommario):

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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Abstract (sommario):

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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Nirwana, Aditya, Imam Mukhlis, F. Danardana Murwani, and Didit Prasetyo Nugroho. "Instrumentalism, Utilitarianism, Arts Entrepreneurship, and Digital Cosmopolitanism as a Global Perspective of Indonesian Emerging Artists." Scholars Journal of Arts, Humanities and Social Sciences 12, no. 04 (2024): 134–46. http://dx.doi.org/10.36347/sjahss.2024.v12i04.004.

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Abstract (sommario):

In particular, rare scientific-academic studies still attempt to investigate the problems artists face in Indonesia. However, that does not mean that art in Indonesia runs without problems; artists encounter many challenges in carrying out their careers, Starting from the issue of respect for the profession of artists, lack of art facilities, violations of freedom of work by the ruler, to economic problems that until now have become typical problems. Through literature study, this paper will explore what is happening in the mainstream modern art arena and initiate concepts or strategies for In

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Efimenko, V. "THE IMPORTANCE OF EVALUATING A WORK OF ART IN THE ARTIST’S WORK." Scientific Notes of V.I. Vernadsky Crimean Federal University. Philosophy. Political science. Culturology 10, no. 3 (2024): 62–74. https://doi.org/10.29039/2413-1695-2024-10-3-62-74.

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Abstract (sommario):

The analysis of the results of artistic creation, as well as the attitudes of authors, audiences, and experts towards them, is of particular relevance in contemporary culture, characterized by its inherent variability and fluidity of values. The process by which a work acquires social value attracts sustained research interest. This article aims to examine aspects such as: the alignment of the author’s creative aspirations with societal demands; the possibility and right of an individual artist to declare their work as a public aesthetic value; the commensurability of authorial and public eval

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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 c

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