My thesis, Escape Artist, is a composite novel written as a fictitious memoir, similar in style to Tim O'Brien's The Things They Carried, that describes my experiences between the years 2001 and 2011. During that time I went through Marine Corps Boot Camp, became a military police officer, patrolled Yuma, AZ, was sent to Iraq for a seven-month tour as a security detail just before the start of Operation Iraqi Freedom, and made it back home four years later. The novel also looks into my struggles with Post-Traumatic Stress Disorder symptoms, how they affected the people around me, and what I've been trying to do to remedy them (or ignore them). ; 2012-12-01 ; M.F.A. ; Arts and Humanities, English ; Masters ; This record was generated from author submitted information.
The caucus will allow artists to express their full potentials in the supportive and creative environment space. Arts have been a prevalent component of queer activism, politics, and identity formation. Queer artists face additional barriers like lack funding, commercialization, censorship, commodification, and oversight within their field and in relationship to others. Creating a meeting space for queer artists will allow for us to develop our own language and further develop our professional relationships and practices; it will further nurture and inspire the study of queer history, theory, criticism, and studio practices. Topics for discussion include history, resource sharing, advocacy, compensation, queer artistic languages, and other topics that are relevant to the group.
Living as a professional artist requires multiple roles such as a businessman, a social media specialist, a financial expert, an entrepreneur, as well as artists contributing creativity through their artworks. The welfare system for artists in South Korea was suddenly legislated after one screenwriter, Goeun Choi's death in 2011. However, the law was legislated in a short time, thus, it contains limitations and requires improvements. Furthermore, the two previous Korean governments made 'Blacklist' for artists and organizations who were unsupportive for those governments and gave disadvantages deliberately towards artists who were in this 'Blacklist'. This research investigates to compare the status of professional artists in South Korea and Finland by interviewing artists in both countries. The goal of this thesis is to find out and suggest the direction of cultural policy supporting artists in South Korea through comparison with Finland. I interviewed ten professional artists (five professional artists in each country) by using a semi-structured interview. The interviews were conducted in English for Finnish artists, and in Korean for Korean artists. The collected data from Korean artists were translated into English. According to the results, the deviation of income for Korean professional artists was greater than Finnish professional artists. The grant was an important source of income for Finnish artists which means that Finnish artists were more dependent on the grant and they had more stable income with less deviation of income rather than Korean artists. Korean artists were not aware of grant or support project from the government with lack of information and mistrust towards the government. Meanwhile, Finnish artists were sharing information about grant through communities and organizations and they had trust in the process of grant system from the government. Artists in both countries pointed out the business-minded attitude towards short-term and visible outcome from both governments. Also, they suggested that the government appreciate art and artists.
[Abstract] In her biographical compilation English Female Artists (1876), Ellen Clayton documented the lives of many talented and hard-working women as a means of bringing to light and celebrating their role in the history of art. Moreover, she also explored these artists' biographies in order to problematize more general issues, thus entering into one of the most significant initiatives of the period: the movement for women's rights, with proposals including the improvement of women's education, their access to art academies, and the amelioration of laws regarding marriage, family and employment. Of particular interest are the lives of celebrated artists who were also leading activists in the period, such as Laura Herford, Eliza Bridell-Fox and Barbara Leigh Smith Bodichon. Therefore, this study aims to explore not only Clayton's approach to female artists within the specific domain of art, but also the incursions that they made into broad social and political issues regarding women. Finally, the presence in various biographies of the term "sisters" is particularly revealing in that Clayton, through her text, could be said to be assembling as many women as possible, not just artists, as a means of fighting for their rights together as sisters ; [Resumen] En su compilación biográfica sobre mujeres artistas English Female Artists (1876), Ellen Clayton documentó las vidas de numerosas mujeres talentosas y muy trabajadoras para reivindicar su participación en la historia del arte. Además, también aprovechó las biografías de estas artistas para abordar temas más generales, adhiriéndose así a una de las iniciativas más relevantes del período: el movimiento por los derechos de las mujeres, con propuestas que incluyen el progreso en la educación de las mujeres, su acceso a las academias de arte y la mejora de leyes sobre el matrimonio, la familia y el empleo. En particular, cabe reseñar las biografías de artistas célebres que también fueron activistas destacadas de la época, como Laura Herford, Eliza Bridell-Fox y Barbara Leigh Smith Bodichon. Así, este estudio tiene como objetivo explorar no solo cómo enfoca Clayton el análisis de la artista en su propio ámbito específico, sino también las incursiones de la autora en temas sociales y políticos más generales relacionados con las mujeres. Finalmente, la presencia en varias biografías de un término significativo, "hermanas", es particularmente revelador, ya que Clayton podría estar intentando reunir a través de este texto a la mayor cantidad posible de mujeres, no solo artistas, para luchar todas juntas como hermanas por sus derechos.Ellen Clayton; English Female Artists; women artists; women's rights movement; Victorian periodEllen Clayton; English Female Artists; mujeres artistas; movimiento por los derechos de las mujeres; época victorianaPalabras clave:Keywords:AbstractResumen
The RCA is a partner in a major four-year research programme titled 4Cs: from Conflict to Conviviality through Creativity and Culture. This included an Artist Residency co-funded by Creative Europe and the RCA, curated by Michaela Crimmin, Reader in Art and Conflict, RCA and 4Cs UK art director. After an extensive selection process, advised by international curators, Noor Abuarafeh was invited to London. A Palestinian artist living and working in Jerusalem, Abuarafeh questions how history is constructed, visualised, perceived, and understood; how all these elements are related to fact and fiction, including imagining the past when there are gaps in documentation. Noor Abuarafeh's research focused on the whereabouts of works by Palestinian artists from exhibitions that took place in Europe in the last century, and particularly from an exhibition in 1919 held at the Imperial War Museums. Lost, overlooked, displaced, or hidden, these artworks and the process of finding them act as a metaphor for displaced and marginalised people - a constructive reclamation of history in part as an act of reconciliation, contextualising the present in the past. The outcome of the residency was an art book entitled 'Rumours Began Some Time Ago', a response to the question 'how can we document what is absent?' It includes an illustrated account of British involvement during the Mandate where civil servants sought to create a museum dedicated to Palestinian art and crafts in Jerusalem. It focuses particularly on the role of the 'Pro Jerusalem Society', established in 1917 by Sir Ronald Storrs, the then Military Governor of Jerusalem. An online version of the publication is available. The Delfina Foundation hosted Noor's residency. Hilary Roberts, Research Curator of Photography at the Imperial War Museums, and Jack Persekian, director of the Al-Ma'mal Foundation for Contemporary Art in Jerusalem, both supported the residency. Further informations: https://4cs-conflict-conviviality.eu
Growing instability in higher education funding (Thomas, 2021) has directly impacted the University of Montana music program but has also indirectly changed the role of music students to such an extent that I now often say, "every artist is an advocate." In 2018, the University of Montana School of Music experienced significant threats from budget cuts, and in the years following, attempts to earn legislative funding for capital development failed. Faced with these budget cuts and other lack of funding, music students had to advocate for themselves and employ community and institutional support to maintain the strength of their program. Due to this heightened organizing and advocacy from music students, proposed budget cuts were significantly reduced, and some authority funding was still received from our legislature. In this paper, I describe how I leaned into policy and grassroots organizing of music students as a student body Senator and the Student Music Union President to advocate for these efforts, and I evaluate how these efforts highlight future challenges for music students and their advocacy. I use autoethnographic research methods (Ellis, 2011) to reflect on these events and to highlight how the personal impacts of these events motivated my research on common themes surrounding music advocacy. The project demonstrates both the bounds and capabilities of student advocacy while indicating themes of financial instability across music schools, lending to the concept that "every artist is an advocate".
This research project is the creation of an artist book based on collaboration between the primary artists and research into feminist theory and design. Deconstruction is a dominant theme in the project: we used this to break down normative rules of grammar, structure, narrative, and design to express the fragmented personal and political narratives present in the work associated with gender and class. We reflected on the writings of Joshua Gamson and Steven Epstein to incorporate queer theory and deconstructionist theory in our research: "The term queer itself resists a clear and explicit definition, so also queer politics are deconstructionist politics "marked by a resistance to being labeled, a suspicion of constraining sexual categories, and a greater appreciation for the fluidity of sexual expression." (Epstein, 1996, p. 154)"."Queer can be anti-assimilationist, provocative and includes various sexual minorities and includes various shades of gender expressions and identities (Epstein, 1996, pp. 152-153; Gamson, 1996, p. 396). Moreover they are intersectional – they not only deal with questions of sexuality and "sex", it also deals with "race" and "class" as axes of power hierarchies and the fact that we all have multiple belongings within this categories (Gamson, 1996)". The book is an articulation of our own personal and political narratives. We produced content for one another, in a responsive process of writing and photography between each other for several months. The result of this relationship was a multi-layered narrative: vulnerability, mental health, addiction, violence, loss, anxiety, love, community, self-awareness. Discipline: Design Studies Faculty Mentor: Wayne William
Combining artistic practice with teaching is not unusual for teachers in the visual arts. A dual professional practice, which can be found throughout the field of art education with art teachers in all levels of education, requires a negotiation of roles and positions on a personal level and has impact on pedagogy. However, the binary opposition of artist versus teacher fails to comprise the diversity of practices where art making and teaching are combined. Not only does identification with artist or teacher vary, so does the extent to which the two disciplines are fused, to the point where it can be called a hybrid practice when the distinction between art and teaching is no longer relevant. The democratic nature of contemporary visual art making further problematises a singular model of artist teacher practice. In order to do justice to the personal strategies artist teachers employ in balancing their dual professional roles, this thesis proposes a multifaceted concept of artist teacher practice. In this thesis, the notion of hybridity and diversity in artist teacher practice and the implications for democratic models of teaching and learning is subject to both theoretical, empirical, and artistic inquiry. The employment of different lenses enables a multi-layered approach to a complex practice. By focusing on the knowledge incorporated in the practice of two Dutch artist teachers this thesis informs how artist teacher practice relates to models of democratic teaching and learning. The miniature dioramas visually explore my own perception of democratic learning spaces and add an extra auto-ethnographic layer of understanding to artist teacher pedagogy. Central in this thesis is the notion of a pedagogical thirdspace. A spatial representation of social realities helps to create a critical understanding of human life. A thirdspace is a place in the margins between reality and ideals (Soja, 1999). When binary models of understanding are exchanged for real-life knowledge of the pedagogical practice of artist ...
We set out to examine the relationship between cultural engagement and wellbeing in a European Union state, Malta. We specify a conceptual model of wellbeing, captured by self-assessed life satisfaction as the predicted variable. Armed with a rich dataset (n = 1,125), drawn from a nationally representative sample, we construct variables that capture the diverse forms of cultural participation including a variable that identifies artists. We test three hypotheses, namely that passive cultural participation (audience) is positively associated with life satisfaction, that active (productive) cultural participation is positively associated with life satisfaction, and that artists have a higher level of life satisfaction, all else being equal. We find that both active and passive participation activities are associated with higher levels of life satisfaction; that active participation (including production, donation and travel) manifests a stronger relationship with life satisfaction than passive participation; and that life satisfaction is higher among those who identify as artists even after the effects of all other control variables are parsed out. This being the first nationally representative study on life satisfaction in Malta, the study makes a useful contribution in this regard, finding that factors like employment, health, engagement in sport, politics, religion, environment, as well as region of residence and migration are all significant correlates of life satisfaction.
To protest the 1999 Copyright Act amendment, recording artists Don Henley and Sheryl Crow, among others, co-founded the RAC. While formed to serve as a "voice for artists' rights," the primary impetus behind its founding was to lobby Congress to delete sound recordings from the definition of "works made for hire" in the Copyright Act. Together with intense lobbying by AFTRA, individual recording artists and legal scholars, the RAC succeeded--in October 2000, sound recordings were removed from the definition of "works made for hire." The momentum gained by artists in this lobbying effort inspired an attack on the other proverbial thorn in the side of recording artists--the Seven Year Statute. Since mid-2001, politicians, most notably Senator Kevin Murray, themselves have responded to this momentum by meeting with dozens of recording artists, artists' coalitions and labor union officials. Perhaps the most ambitious lobbying move yet staged by recording artists was four simultaneous concerts occurring in Los Angeles on February 26,2002. Led by Henley, RAC organized the concerts, which included performances by artists such as The Eagles, Sheryl Crow, the Dixie Chicks, Billy Joel, Tom Petty and Beck. All concert proceeds went to RAC for the legal bills it has incurred in its lobbying efforts. In all, the concerts raised $2.5 million for RAC. Henley, however, is careful to note that the concerts were not only about raising money: "This is an awareness-raising exercise, but the money that we're going to generate is not insignificant."
Ce mémoire a pour objectif d'étudier l'oeuvre de René Zuber, comprise entre les années 30 et 40. Période charnière dans l'histoire contemporaine et l'histoire des idéologies, elle se combine avec une époque de transition dans les domaines artistiques ; transformés par l'effondrement des idéaux artistiques académiques hérités du XIXe et les nouvelles possibilités techniques de la société moderne naissante. Ces éléments vont façonner une période atypique pour l'expression artistique, particulièrement dans ses relations entre les artistes, le public, les idéologies et les instances politiques. La notion d'engagement dans l'art va progressivement se dégager et devenir un axe important de l'analyse artistique, si bien que notre conception actuelle d'une oeuvre d'art l'inclut comme une thématique forte - voire indispensable, consciemment ou non - ce qui amène à considérer l'artiste comme un vecteur idéologique plus ou moins impactant.
Ce mémoire a pour objectif d'étudier l'oeuvre de René Zuber, comprise entre les années 30 et 40. Période charnière dans l'histoire contemporaine et l'histoire des idéologies, elle se combine avec une époque de transition dans les domaines artistiques ; transformés par l'effondrement des idéaux artistiques académiques hérités du XIXe et les nouvelles possibilités techniques de la société moderne naissante. Ces éléments vont façonner une période atypique pour l'expression artistique, particulièrement dans ses relations entre les artistes, le public, les idéologies et les instances politiques. La notion d'engagement dans l'art va progressivement se dégager et devenir un axe important de l'analyse artistique, si bien que notre conception actuelle d'une oeuvre d'art l'inclut comme une thématique forte - voire indispensable, consciemment ou non - ce qui amène à considérer l'artiste comme un vecteur idéologique plus ou moins impactant.
Ce mémoire a pour objectif d'étudier l'oeuvre de René Zuber, comprise entre les années 30 et 40. Période charnière dans l'histoire contemporaine et l'histoire des idéologies, elle se combine avec une époque de transition dans les domaines artistiques ; transformés par l'effondrement des idéaux artistiques académiques hérités du XIXe et les nouvelles possibilités techniques de la société moderne naissante. Ces éléments vont façonner une période atypique pour l'expression artistique, particulièrement dans ses relations entre les artistes, le public, les idéologies et les instances politiques. La notion d'engagement dans l'art va progressivement se dégager et devenir un axe important de l'analyse artistique, si bien que notre conception actuelle d'une oeuvre d'art l'inclut comme une thématique forte - voire indispensable, consciemment ou non - ce qui amène à considérer l'artiste comme un vecteur idéologique plus ou moins impactant.
Ce mémoire a pour objectif d'étudier l'oeuvre de René Zuber, comprise entre les années 30 et 40. Période charnière dans l'histoire contemporaine et l'histoire des idéologies, elle se combine avec une époque de transition dans les domaines artistiques ; transformés par l'effondrement des idéaux artistiques académiques hérités du XIXe et les nouvelles possibilités techniques de la société moderne naissante. Ces éléments vont façonner une période atypique pour l'expression artistique, particulièrement dans ses relations entre les artistes, le public, les idéologies et les instances politiques. La notion d'engagement dans l'art va progressivement se dégager et devenir un axe important de l'analyse artistique, si bien que notre conception actuelle d'une oeuvre d'art l'inclut comme une thématique forte - voire indispensable, consciemment ou non - ce qui amène à considérer l'artiste comme un vecteur idéologique plus ou moins impactant.
Ce mémoire a pour objectif d'étudier l'oeuvre de René Zuber, comprise entre les années 30 et 40. Période charnière dans l'histoire contemporaine et l'histoire des idéologies, elle se combine avec une époque de transition dans les domaines artistiques ; transformés par l'effondrement des idéaux artistiques académiques hérités du XIXe et les nouvelles possibilités techniques de la société moderne naissante. Ces éléments vont façonner une période atypique pour l'expression artistique, particulièrement dans ses relations entre les artistes, le public, les idéologies et les instances politiques. La notion d'engagement dans l'art va progressivement se dégager et devenir un axe important de l'analyse artistique, si bien que notre conception actuelle d'une oeuvre d'art l'inclut comme une thématique forte - voire indispensable, consciemment ou non - ce qui amène à considérer l'artiste comme un vecteur idéologique plus ou moins impactant.
