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In analysing the beancounter image's trajectory, from its birth to its persistence, in European French language comics between 1945 and 2016, this paper explores why artists continue beancounter image usage in popular culture.

Beancounter characters have been studied in an application of Iconology (Panofsky, 1955) in order to unravel how individuals make sense of cultural artefacts and how, in turn, the visuals shape cultural belief systems at a given time.

This study reveals that comics artists usage of the beancounter image results from their critical reactions to management and capitalism whilst at other times the usage is an indication of authenticity. Motivation for the usage is not constant over time nor is the impact of the beancounter image. Both appear dependant of the level of artistic freedom experienced by the artist.

Based on a single media (comics) with a unique characters (European French language) this study deepens exploration of the ways in which accounting becomes entwined with the everyday and implies that further research is needed.

Extends the work of Smith and Jacobs (2011) and Jacobs and Evans (2012) by focusing on a genre of popular culture over a long period, and by adopting a critical viewpoint. Also expands the possible applications of Panofsky's (1955) Iconology in accounting studies.

This research makes a fresh contribution by exploring an understudied aspect of the Tropicália movement: visual performance. After offering a historical overview, we examine the movement’s communicative legacy. We contend that, in addition to song’s lyrics and musical symbols, it is vital to consider a third dimension: visual performance.

The addition of the visual allows for a more fundamental understanding of the many complex meanings that the Tropicalistas constructed in their resistance to political oppression, as well as broader cultural mores and expectations.

Our examination of archival performance videos reveals that Tropicalistas employed modes of dress and a specific, intentional orientation toward their listeners as particularly powerful tools of expression. Revealing these two dimensions of Tropicália performance allows us to better understand the importance of performance as a key element of resistance. The Tropicália movement’s performative reconfigurations of self and other became a vital channel through which the Tropicalistas manage to speak truth to power to challenge the oppressive military regime and question assumptions about Brazilian national identity.

Exploring the role of performance as part of the overall meaning of musical expression opens up new vistas of understanding. While relevant to Tropicália as a pivotal and wholly Brazilian artistic movement, the contributions of this study have implications beyond this particular setting. The analytical approach reveals how artistic movements can serve as both the substance and the expression of national being.

The purpose of this paper is to argue that greater awareness of the connections between the traditions and conventions of visual art and the production and consumption of images leads to enhanced ability to understand branding as a strategic signifying practice.

Several prominent, successful artists served as case studies to illuminate the potential for insights into the interconnections between art, branding, and consumption by turning to art history and visual studies. Discusses the cross‐fertilization of art and branding, focusing on three contribution areas: the interactions between art, brands and culture, the self‐reflexivity of brands, and brand criticism.

Successful artists can be thought of as brand managers, actively engaged in developing, nurturing and promoting themselves as recognizable “products” in the competitive cultural sphere.

This paper places brands firmly within culture to look at the complex underpinnings of branding, linking perceptual and cognitive processes to larger social and cultural issues that contribute to how brands work and argues that art‐centred analyses generate novel concepts and theories for marketing research.

The study aims to highlight and reflect on resistance to Brazil's illiberal accelerationist politics highlighting alternative possibilities based on affects and forms of relatedness.

Drawing on the case of public universities and the arts in today's Brazil, the authors point out a tragedy of resistance (when opposing change fuels its acceleration) and explore a strategy of lines of flight and becomings in the light of Deleuze and Guattari's perspective on acceleration.

Alongside an oppositional and reactive resistance, that is caught in a tragedy of resistance, the authors explore an alternative strategy that protects a plurality of life forms and forces and their becoming. This strategy differs from most critiques of accelerationism.

This strategy of resistance seems more faithful to Deleuze than the accelerationist strategies that claim to be inspired by him. The authors suggest another reading of the often quoted passage by Deleuze and Guattari. While Deleuze and Guattari favor continuous deterritorializations of the flows of desire, accelerationism reterritorializes these flows towards a (often) undesirable future.

This chapter analyzes art-based methods that focus on the deliverables required from the student in an academic exchange.

The study will focus on a group of second-year Master’s students who, accompanied by an artist-coach and a researcher, were asked to produce an artwork reflecting their views on the technical or theoretical issues in accounting. These works were invented and realized in a four-day workshop and exhibition organized by the students.

Student submissions were found to fit into four types of outcomes: instrumental, developmental, directed, and embedded. The first two are produced by the processes mobilized in art-based teaching, while the second two are linked to the specific form of the artwork engaged in by the teaching process. Observing that few theories have explored the range of outcomes attributable to the form, the author draws on the experiment as well as Winnicot’s concepts of transition and intermediate objects to define the specific transformative quality of art forms. By investigating the special area where the delimitations between the self and the world are blurred and changing, the art-maker student adopts a posture of a natural researcher who creates knowledge at the moment he defines his self — or to put it differently, through art-making, the student produces his/her self and his/her knowledge at the same time.

Recognizing that empowering the complexity of expression liberates access to knowing abilities and independent critical learning.

The purpose of this paper is to understand the role of women in the field of photography after the second wave of feminism in Europe.

The grounded theory on the position of women in contemporary photography has been contrasted with the information collected by the authors in previous research studies on the presence of women photographers in the main museum collections in Europe.

Gender inequality in the various artistic disciplines is a current sociopolitical problem Western countries have been fighting against for several decades. After the resurgence of social movements in the USA and Europe in the 1960s, an artistic movement called feminist art emerged whose significance should be assessed.

The paper proposed a general approximation, a foundation on the state of art, which may be implemented in the future with more data coming from other collections. It should be taken into account that this aim is a work in progress in a large scale of the research.

This paper includes implications for the development of a more efficient strategy to create a balance situation in the number of men and women photographers at the museum collections.

The paper identified a lack of practical analysis on the current averages of female photographers in art institutions.