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.
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
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.
From Duchamp's drag as Rrose Sélavy, photographed by Man Ray, through to contemporary artist Bob and Roberta Smith, the artist's pseudonym has served as a political tool challenging traditionally inherent concepts pertaining to authorship: gendered notions of genius, singular attribution, the scarcity model and notions of intellectual property, all of which are perpetuated by the art market. These facets of an art practice are not yet well recognised or documented because the artists' complex authorships defy the economy that would otherwise benefit from writing their 'biography'. This article explores the agency of the pseudonym over a sustained period of time through two case studies in particular: the Guerrilla Girls, an all-female collective working anonymously, and Marvin Gaye Chetwynd, the first British performance artist to be nominated for the Turner Prize. Through their practices, this article will reflect on how pseudonymous artists navigate intellectual property or work collectively and share recognition, and how a name might aid 'artivism'. There exist artists more dissident, but the fact that both these case studies work within the financially incentivised infrastructures of the artworld helps demonstrate how a pseudonym might critique, challenge and reshape the parameters of authorship from the inside out. This article concludes that contemporary artists' name/namelessness is inherently political.
On Saturday 26th a team of Citizen Artists (Daphne Plessner, Sophia Selby, Rahel Zoller, Nancy Fleischauer, Kristine Bumeister, Parastow Miri and friends Richard, Jonathon Wright and Calum) launched a moving exhibition called the 'Citizen Artist Mobile Armband Exhibiton' during the TUC rally in collaboration with the Save Our Placards! collective. Daphne Plessner was the lead artist in the exhibition. The exhibition consisted of 120 unique armbands carrying protest slogans generated by an online 'sloganizer'. The purpose was to circumvent a gallery or museum environment and instead embed an art exhibition within a live political event, transmuting the exhibition as an object in itself, or an arena for the display of objects, into a mobile and transient event. The political rally itself was seen of as an expanded exhibition space ripe for intervention.
This article examines how artists, activism, and works of art may contribute to a more textured understanding of debt in contemporary society and culture. The diversity of aesthetic practices and range of strategic interventions in which artists are organizers and activists are manifest in the Global Ultra Luxury Faction (G.U.L.F.), advocacy initiatives by Working Artists and the Greater Economy (W.A.G.E.), and alternative, trans-local projects such as the Arts Collaboratory. These activist interventions provide the context for an examination of how artists have seized upon discourses related to debt and finance to produce works that offer a critical reappraisal of the global economy. Artists' projects by Martha Rosler, Cassie Thornton, Zachary Formwalt, and Michael Najjar challenge audiences to rethink the invisible networks of debt and exchange by creating new visual vocabularies for 'seeing' debt. The emergence of activist groups, such as Liberate Tate, has also signaled renewed interest in the ethics of corporate sponsorships, museums, and environmental issues. A heightened awareness of the ethical dimensions of debt and global support for activist movements may contribute to new notions of citizenship and performative democracy that can incite individual and collective renegotiations of how we might critically rethink debt.
"We are creating the same quantity of data every two days, as we created from the dawn of time up until 2003. It is estimated to be 5 Exabyte" [1]. The Internet and web technologies give billions of users the ability to share information and express their opinions on various issues. This enormous amount of data might be very valuable. Social media, as the main sharing platform, is a very promising data source for researchers to investigate and analyze how people feel or think on variety of issues, from politics to entertainment. Previous research has explored the problem of detecting controversies involving multiple kinds of entities (people, event, ) by analyzing different feelings and opinions on these entities. The music domain, as one of the most controversial domains, has not been investigated much in this research. This thesis studies to which extent Twitter, as a social media platform, can be used to detect controversies involving music artists. It generalizes and extends the work proposed in previous research to build good machine learning prediction models to detect these controversies. We analyze what people share about music artists in Twitter, present the problems in this data and study how to tackle most of them. Then, we use this data to build a new controversy detection dataset in the music domain. The created dataset is then used to evaluate a comprehensive set of features to be used in building prediction models to detect controversies involving music artists. We propose using information about the users who share their opinions along with information about the shared opinions themselves to enrich this set of features. Our evaluations show promising results in detecting controversies involving music artists using the created dataset. They also show that we can easily improve the results of detecting controversies in other domains as we also run our evaluations on a CNN news dataset. ; submitted by Mhd Mousa Hamad ; Universität Linz, Masterarbeit, 2017 ; (VLID)2344955
This work is a critical analysis of art, memory and prestige in the early twentieth- and late twenty-first-century Philippines. I am concerned with the creation of the Philippine nation by various acts of commemoration and recognition (awards, exhibits, and concerts) through which artists are valorized, immortalized and celebrated. I answer three broad questions: (1) how do patron-client and kinship systems determine the national recognition of artists in the post-colonial world? (2) how is music used in the nation-building project? and (3) how is national mythology created and contested through the commemoration of individual artists in the Philippines? I approach Philippine area studies through discussions of the past in ethnomusicology, borrowing theory from memory studies and methodology from historical anthropology while expanding both fields with a consideration of expressive culture. To describe this interaction between state and artist, I focus on the National Artist Award (NAA), the highest honor bestowed upon an artist by the Philippine government. I begin by recounting an aberration of the nominating process: the 2009 National Artist Award controversy. Then-President Gloria Macapagal Arroyo deleted a name from the prestigious NAA nominee list and added artists with suspiciously close ties to her administration. Then, I analyze the 2010 re-performance of National Artist for Music José Maceda's Ugnayan , a multi-spatial composition for 20 radio stations. This work was originally performed in 1974 with the explicit support of then-First Lady Imelda Marcos. Finally, I describe a 2012 exhibit featuring the materials of National Artist for Music Felipe De Leon Padilla Sr. I sort through clashing characterizations of De Leon of as a "crisis composer" who served the Philippines at times of foreign and domestic peril. Reading against the grain of these public acts of commemoration and recognition, I provide an account from the "ground up" and consider how the public construction of national artists renders the Philippines into a unified conceptual whole.
There are an estimated 4.5 million CCTV cameras installed on the streets of the UK. More than in any other European country, this accounts for 20% of all the world's CCTV cameras. Walking in the streets your image could potentially be captured on camera up to 300 times in one single day. In 1992 Newcastle upon Tyne was one of ten local authorities in the UK to pioneer a CCTV network installed by the police authority. Most other towns did not develop similar systems until after the James Bulger murder case in 1993. As part of this scheme, Northumbria Police, in partnership with the City Council and local businesses, installed a 16-camera surveillance system in the commercial centre of the city of Newcastle. This was to be the first within a city centre location, and the most advanced technological system in Europe at the time. Developed in direct response to the knowledge that this surveillance system had recently been installed in the commercial centre of the city of Newcastle upon Tyne, 'SEARCH' was a project made for Television. Accessing video footage from the CCTV network of the artists Pat Naldi and Wendy Kirkup executing a choreographed walk around the city centre, 'SEARCH' consisted of twenty-ten second sequences transmitted during the commercial breaks. It was broadcast on Tyne Tees Television between June 21st and July 4th 1993. City centre CCTV systems, as in Newcastle, conceptually echo Jeremy Bentham's eighteenth century Panopticon. This technological monitoring of space makes possible a panoptic practice proceeding from a place where the eye can transform foreign forces into objects that can be observed and measured and thus control and 'include' them within its scope of vision. The cameras 'neutral' vision deals with unedited time; it records rather than intervenes, its real purpose being one of replay & reconstruction 24 hours a day. This chapter explores through the artist project 'SEARCH' the complex political, psychological, and gender loadings of surveillance technologies in the control of city spaces. As we relinquish control over our own images that are legally classed as public, the chapter analyses the activity of the phenomenon of surveillance, in itself not a new phenomenon, to address current debates of privacy and public spectacle.
this is the text and power point of a video presented to the students of the Double Bachelor in HUST-Paris Saclay, as part of the online course "Perceive Practice in Science" by Jianmiao Liu and Alain Zozime at the University of Science and Technology (Hust) in Wuhan, China, October — December 2021. ; Il s'agit du texte et du power point d'une vidéo présentée aux étudiants de la double licence en Biologie HUST-Paris Saclay, dans le cadre du cours en ligne "Perceive Practice in Science" de Jianmiao Liu et d'Alain Zozime à l'Université de Sciences et Technologie (HUST) à Wuhan, Chine, octobre-décembre 2021
Beijing arts districts were protected after 2006 by a cultural planning strategy fostering the development of cultural creative industries. But under a new city plan in effect since the winter of 2016, the urban periphery of Beijing has been facing demolitions. Also affected were emerging artist communities that were located there. This qualitative study centers on the recently demolished Black Bridge (Heiqiao) artist community. To prove my hypothesis that citywide cultural planning is not serving independent artists and to explore what tools might help them thrive, as individuals and as a spatial community, I conducted twenty semi-structured interviews conducted with artists, local inhabitants, local alternative spaces owners and local government officials. By identifying interest alignments between artists, planners and local community members, this thesis aims to provide strategic planning for future artist communities in Beijing affected by the new city plan.
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. ; peer-reviewed
