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1 – 10 of over 12000The artists' book is a hybrid art form: it has no home, no shelf upon which to comfortably reside. Nor is its readership easily described or accounted for. It is a book art form…
Abstract
Purpose
The artists' book is a hybrid art form: it has no home, no shelf upon which to comfortably reside. Nor is its readership easily described or accounted for. It is a book art form that is in transition; it is still evolving. This paper maps attempts to define the artists' book and explains why definitions fall short and what the slipperiness of the form might imply for library collections.
Design/methodology/approach
This article has been informed by a literature search, the examination of special collections of artists' books in libraries in Europe, the UK, North America and Australia as well as negotiations with librarians to acquire books.
Findings
The artists' book as a minor genre within both art and literature is also an interdisciplinary practice: as such is difficult to manage and display within the conventional library system.
Originality/value
This article suggests an approach to the inclusion of the artists' book in special library collections.
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Noah Askin and Joeri Mol
Since the arrival of mass production, commodification has been plaguing markets – none more so than that for music. By separating production and consumption in space and time…
Abstract
Since the arrival of mass production, commodification has been plaguing markets – none more so than that for music. By separating production and consumption in space and time, commodification challenges the very conditions underlying economic exchange. This chapter explores authenticity as the institutional response to the commodification of music, rekindling the relationship between isolated market participants in the increasingly digitized world of music. Building upon the “Production of Culture” perspective, we unpack the commodification of music across five different institutional realms – (1) production, (2) consumption, (3) selection, (4) appropriation, and (5) classification – and provide a thoroughly relational account of authenticity as an institutional practice.
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Cosmas Gatot Haryono and Louisa Christine Hartanto
This paper aims to explore how Indonesian males who are entrepreneurs in make-up artists navigate their businesses in a society that relies on hegemonic masculinity. This goal is…
Abstract
Purpose
This paper aims to explore how Indonesian males who are entrepreneurs in make-up artists navigate their businesses in a society that relies on hegemonic masculinity. This goal is reached by concentrating on male make-up artist entrepreneurs in five Indonesian provinces and investigating how they actively rewrite their gender and inherent vocations by societal norms.
Design/methodology/approach
This paper adopts a qualitative phenomenological approach with methods. In-depth interviews and observations were conducted with 28 informants in five provinces of Indonesia.
Findings
These findings show that, aside from self-concept, family support is the most crucial determining factor that pushes men make-up artists to become businesses in the face of so many rejections. Persistence in battling for their fate is also critical in efforts to erase themselves, who are constantly subjected to hegemonic masculinity. Aside from that, it appears that the government's role in attempts to promote gender equality in all fields of business in Indonesia remains limited.
Originality/value
This paper contributes to the gender and entrepreneurship literature by providing a broader exploration of male entrepreneurs working in the field of female make-up artists in a society that still adheres to hegemonic masculinity.
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This chapter explores the role of entrepreneurship within the careers of fine artists. This is positioned within the context of the discourse of cultural value. How artists manage…
Abstract
This chapter explores the role of entrepreneurship within the careers of fine artists. This is positioned within the context of the discourse of cultural value. How artists manage their artistic and, sometimes conflicting, entrepreneurial identities is explored. The fields of entrepreneurship, and more recently the creative industries, have received much attention from both policy makers and researchers. Fine artists are perhaps one of the least employable, and arguably most entrepreneurial (by necessity), as Higgs et al. suggest ‘some occupations naturally have substantially higher numbers of self-employed people such as “Artists” with 91% self-employment’ (Higgs, Cunningham, & Bakhshi, 2008, p. 94).
The study captures the career histories of a cohort of fine art graduates, all of whom had graduated at the same time (1994), from the same institution. Taking a narrative approach, detailed career stories were obtained. The relationship to and tensions surrounding entrepreneurship and artistic practice were explored in detail. While artistic identity emerges as a strong force for this group, artistic identity and entrepreneurial identity are sometimes at odds with each other. The practicalities of making a living as an artist, arguably, call for entrepreneurial activity. However, the findings suggest that this presents a conflict for some artists, both aesthetically and emotionally. This chapter explores what this means in the context of cultural value, and cultural value as a ‘lens’ for understanding an artist's career.
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This article features four disabled artists who are parents and center on their balance of artistic practice and family. As a disabled artist considering starting a family and…
Abstract
This article features four disabled artists who are parents and center on their balance of artistic practice and family. As a disabled artist considering starting a family and becoming a parent, the question of balancing artistry with a child has been a consistent thought and inquiry. Especially as a disabled artist wrestling with the realities of managing one's bodily needs with a career and personal life, I realize it will be a challenging yet rewarding adjustment. Furthermore, artists often lead atypical work lives with atypical working hours, which can sometimes lend itself to parenting and take away from it in other ways. With the resultant interviews and article, I aim to provide critical insights into practicing disabled artists' viewpoints on parenting, ranging from the challenges to the dividends. I hope these insights will support a singular view of disability parenting and artistry, as well as the Journal's goal of a new paradigm in disability scholarship overall.
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The chapter is concerned with the policy led by Paris and London towards the visual artists during the XXth century up to the present day. It examines in detail the evolution of…
Abstract
The chapter is concerned with the policy led by Paris and London towards the visual artists during the XXth century up to the present day. It examines in detail the evolution of the political system developed in France – as Paris was the center of artistic culture – from philanthropic initiatives, the “cités d’artistes,” to the introduction of painters and sculptors in social lodgings in the 1920s by the City of Paris. This impulse was supported by the Ministry of Culture. The expression of welfare state promoting artists in Paris is opposed to the emergence of “arts infrastructure” in the former industrial buildings of London through various artists’ associations, such as Space and Acme. From an historical research and a sociological analysis concentrated on Paris and its suburbs, our fieldwork, we studied an emblematic example, Montmarte-aux-artists, located in the 18th arrondissement the evolution of the welfare politics concerning artists’ studios in the urban renovation of Paris up to the present day. In contrast, the social support concerning the artists living in London is opposite and the effects on the urban area are different. Our research is inspired from the School of Chicago methodology. The main results of our research underline how the introduction of artists’ studios in social lodgings reveals an utopian dimension linked to the artist. So, the artist is considered as a singular inhabitant who can encourage the empowerment in the social housings or who can contribute to the phenomenon of gentrification in an area. However, the utopian role given to the artists is limited to the social and political system.
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