Suchergebnisse

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

J.M. Coetzee made an early career out of ambivalence. Restrained and impersonal, he mined the caverns of despair from the safe distance of allegory and literary appropriation. Life and Times of Michael K, his 1983 Booker Prize winner, tracked the itinerant life of a slow-witted gardener in the sparse prose of Kafka. Foe, a work of revisionist and feminist genius, challenged the rugged masculinity of Defoe's Robinson Crusoe by inhabiting the voice of an imagined female companion. Master of Petersburg occupied not only the melancholic timbre of a Dostoevsky novelit was, after all, about the great master, but also the stilted Victorian English of a Constance Garnett translation. Adapted from the source document.

AbstractWe review a body of literature that addresses the incomes of visual artists and their participation in the labour market. It is clear that the level and composition of visual artists' incomes varies widely, as does their engagement in different forms of employment. The lack of a consistent definition of an artist and a lack of consistency in income sources included in current data collection presents challenges for researchers. The focus of our research is on the economic status of visual artists in Australia, and we identify a number of considerations that might inform policy responses to their financial position.

This essay outlines the formation of the Weusi Artists, begun in Harlem in 1965 as an African American artists' collective. The word Weusi translates as "blackness" in Swahili. Together the artists founded a gallery and academy of fine arts and studies, both of which became great motivating forces in the development, production, and dissemination of black art during the 1960s and 1970s.

Tenue le 6 novembre 2021, à l'Hôtel de Ville de Grenoble, dans le cadre du débat « Validisme, intersectionnalité, lutte pour les droits », cette conférence vise à examiner différents biais sur lequel repose l'invisibilisation des artistes handicapé·e·s. J'y explique notamment comment, pendant longtemps, il m'a été impensable d'être artiste : plus qu'inatteignable, cet horizon m'était inimaginable. C'est l'occasion de revenir sur la production sociale de cet inimaginable , ainsi que sur les moyens mis en œuvre pour déverrouiller mon imaginaire et me sentir peu à peu légitime à me définir comme artiste.

The International Council for Women in the Arts (IWCA) is planning the first exhibition of Arab women artists in the United States, Forces of Change: Artists of the Arab World.

Are artists crazy? Are creators more likely to be mad, or madder, than the rest of us? Does mental distress deepen artistic vision? Correlate to genius? Is the drive to fashion a personal pictorial or plastic universe pathological? Bettina Gockel's hefty Tübingen Habilitationsschrift, "The Pathologizing of the Artist: Artist Legends in Modernity," documents the significant amount of mental energy expended exploring these and related questions from the mid-nineteenth century into the 1920s. Matthew Biro's The Dada Cyborg argues that the Dadaists' montages, assemblages, and raucous agitational activities in the public sphere of World War I-era Berlin indicate modernity's disruption of stable subject positions and suggest instead hybrid, "cyborgian" identities. These included challenges to normative notions of sanity, but also to those of gender, ethnicity, race, and national and political allegiance. James van Dyke's study of the Weimar- and Nazi-era career of painter Franz Radziwill, a World War I veteran and self-taught reactionary modernist realist, provides a detailed case study of an artist whom one might, in retrospect, suspect of a degree of grandiosity and careerism bordering on the pathological, but who was driven by a complex of motivations as political as they were personal.

This article offers a contribution to the political economy of creative labor in socialist Yugoslavia, tracing the emergence of a socialist entrepreneur from the shell of an art worker. It discusses shifts in economic policies that restructured the economic and material conditions of art workers from models based on welfare in the early socialist period to a freelance and self-employment labor model implemented during the last decade of Yugoslav socialism. Linking socialist political economy with the study of art, the article analyzes legal regulation and rare artists' interventions concerning the material conditions for artistic labor to animate the political critique of relationship between art and labor. The study of Yugoslav art workers' demise reveals the detrimental effects of the bourgeois ideology of autonomy and creativity. Informed by feminist critique of reproductive labor, the argument is based on an analogy between housework and artistic labor to uncover mutual mechanisms of naturalization and economic disavowal of these types of labor. The author demonstrates that, unlike the ways in which reproductive labor is devalued, the exceptionality of creative work and the unique status of artists, which socialism maintained and glorified, made their form of labor vulnerable to exploitation and disavowal. The dissolution of labor identity of artists pitched creativity and subsistence against each other and became significant for neoliberal exploitation of artistic labor after the violent destruction of socialist Yugoslavia in 1991. Separating art from subsistence in the interest of articulating the value of artistic autonomy reintroduced false dichotomies and situated art at the heart of twenty-first-century forms of capitalist exploitation.

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