Education for Entrepreneurial Necessity: The Case of Fine and Visual Artists

2014 ◽  
Author(s):  
Bailey Skiles ◽  
Richard C. Donnelly
Keyword(s):  
Visual Artists

Celluloid Bohemia? Ken Russell's Biopics of Visual Artists

2015 ◽  
Vol 12 (4) ◽  
pp. 479-495 ◽  
Author(s):  
Vito Adriaensens ◽  
Steven Jacobs
Keyword(s):  
Visual Artists ◽  
Artistic Creation ◽  
Dante Gabriel Rossetti ◽  
Critical Commentary ◽  
Artistic Genius ◽  
Genre Conventions

Few directors are so closely associated with the genre of the artist biopic as Ken Russell who made several films dedicated to composers, dancers and writers. Only three of these, however, have visual artists as their protagonists: Always on Sunday (1965), Dante's Inferno (1967) and Savage Messiah (1972), dealing with Henri ‘Le Douanier’ Rousseau, Dante Gabriel Rossetti and Henri Gaudier-Brzeska respectively. There has also been relatively little critical commentary on these films compared with the discussion devoted to Russell's films dealing with the lives of composers. This article attempts to remedy this situation by considering the ways in which Russell tackles some of the thematic and formal challenges inherent to the genre of the artist biopic, such as the representation of the artist's personality, the visualisation of the process of artistic creation, and the relation between the style of the film and that of the artist portrayed. We will argue that, to a large extent, Russell's protagonists in these films conform to the romantic stereotype of the tormented and alienated artist. However, and perhaps contrary to what one would associate with the director, we will demonstrate that Russell's biopics also demystify this cult of artistic genius by focusing on the mundane or laborious activities involved in the process of artistic creation, which is at odds with genre conventions that normally glorify this process.

Visual Artists’ Use of Digital Self-Marketing Strategies – A Quantitative Survey on the Present Situation in Germany

2019 ◽  
Vol 3 (2) ◽  
pp. 53-72
Author(s):  
Jessica Hodgkiss ◽  
Sarah Fassio ◽  
Adrianna Rosa
Keyword(s):  
Quantitative Research ◽  
Present Situation ◽  
Marketing Strategies ◽  
Visual Artists ◽  
Further Training ◽  
Quantitative Survey ◽  
Research Survey

Faced with increased competition on the market, visual artists today opt for digital self-marketing strategies to promote their work. In order to determine applicable measures for best results, the au-thors of this paper carried out a quantitative research survey among 158 artists working in Germany. Findings show that a large number of participants act as digital entrepreneurs, and over 50 per cent indicate a need for further training.

Earthworks: Visual Artists for the Earth Group

Leonardo ◽  
1987 ◽  
Vol 20 (2) ◽  
pp. 205
Author(s):  
Allison Butler
Keyword(s):  
Visual Artists ◽  
The Earth

Performing Multiculturalism: The Commonwealth Arts Festival of 1965

2014 ◽  
Vol 53 (3) ◽  
pp. 705-733 ◽  
Author(s):  
Radhika Natarajan
Keyword(s):  
International Economic ◽  
Visual Artists ◽  
National Cultures ◽  
The Past ◽  
Imperial Power ◽  
Arts Festival ◽  
Economic Needs ◽  
Cultural Forms

AbstractThe Commonwealth Arts Festival of 1965 was an important moment of postimperial reengagement. Over three weeks, Britain hosted visual artists, musicians, dancers, poets, and writers representing national cultures, who together presented a diverse Commonwealth assembled in terms of egalitarian multiculturalism. This article examines the investments of individual nations in participating in this festival to argue for the transnational production of multiculturalism at the end of empire. As a postimperial phenomenon, Commonwealth multiculturalism depended on the legibility of distinct national cultures assembled through an equitable framework. Governments sponsored representative cultural forms in response to domestic political circumstances and international economic needs, and against the imperial aesthetic hierarchies of the past. Examining the diverse interests assembled through the festival is essential to understanding the legacies of imperial power for more seemingly democratic frameworks of difference.

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