Denna uppsats syftar främst till att förstå hur en artist skapar en god upplevelse och de tillvägagångssätt som finns för att skapa den. Vi vill även påvisa att ett liveframträdande inte enbart är en tjänsteproduktion utan hur det även kan användas för att marknadsföra artistens varumärke och vilka konsekvenser detta får för varumärket.

With the trend of globalization, the Creative industry has become a useful tool to compete in the global market. Fine performing art is definitely included, and dance artists play an important role in this field. A successful individual brand can prosper the dance industry and help dance artists stand out in fierce competition, even in the future when the agency system has a mature market mechanism. The researcher strives to delve into the necessities for the individual brand-building of dance performance artists, and further draws up ¡§The Framework of Individual Brand-building of Dance Performance Artists¡¨ based on Aaker¡¦s ¡§Brand Identity Planning Model,¡¨ McNally & Speak¡¦s ¡§The Inner and Outer Facet of Individual Brand¡¨ and Kaputa¡¦s ¡§Key Elements of Celebrity Brand-building,¡¨ in order to concoct suitable strategies. The research applies literature review, case study and interview techniques to collect niches and factors for the initial strategy framework. Furthermore, the way of evaluation applies Modified Delphi method with an aim to re-fortify reliability, validity and objectivity of the study. Finally, totally 4 main strategies and 14 secondary strategies are presented in the research result. The main strategies are as follows: (1) Analyze the artist personality, work image and the style of body expression, in order to grasp strength and overcome weakness in the process of building individual brands. (2) Build individual brand identity through unique choreography style and consistent characteristic; meanwhile, increase brand awareness through award acquisition. (3) Actively promote differential personal traits to strengthen image competitiveness. (4) Expand the global market and, with perceived quality, maintain long-term brand loyalty among customers; furthermore, achieve more benefits with the individual brand.

This study is an historical exploration of interviews of eight renowned artists of the 20th century conducted by Peppino Mangravite (1896-1978) in the summer of 1955. The artists interviewed include Graham Sutherland, Henry Moore, Georges Braque, Georges Rouault, Marc Chagall, Giorgio de Chirico, and Giorgio Morandi. Mangravite asked these artists their thoughts on art, life, and education. With the mission to gather advice from leading European artists and university professors on the establishment of a new arts center at Columbia University as well as to interview the artists to be preserved for posterity at the Smithsonian Archives of American Art, Mangravite collected fascinating perspectives from these artists. An analysis of the types of questions Mangravite asked and the responses they elicited revealed insight into the following three topics: the artists' perspectives on art education of the time, a deeper understanding of what is an artist-educator, and most importantly, the analysis substantiated the hypothesis that Mangravite was successful in his contacts and conversation with the eight artists because he himself was an artist-educator, thus giving support to the importance of having the dual identity. / text

This thesis investigates and contextualises as a historical subject a woman textile artist, Annie Gamett (1864-1942). It explores her personal writings, in particular the diary which she kept between the years 1899 and 1909. The use of autolbiographical writings requires a reflexive methodology. In recognising this I engage with the fragmentary material in the archive using feminist theories and discourses to produce an 'intellectual biography', within which the elements of Annie Gamett's life, revealed through her own words, interact with the cultural narratives which challenged and impinged on her individual life. In engaging with Annie's subjectivity, as a historical 'site', I aim to reveal the subtle complexities of 'real' lived experience, and show how a woman, who was inspired by her love of nature and troubled by the effects of industrialisation, was able to develop her creative skills and run a successful textile business within the remit of the Arts and Crafts Movement. My approach to this historical subject unites a feminist perspective with an endorsement of the discipline of Women's History and its central commitment to the recovery of lost vOIces.

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The purpose of this auto-ethnographic and art-based study is to examine how the experiences throughout my life have influenced my practice as an artist. It is within the context of a socially constructed past and present place that I will explore my own process in terms of collaboration and the implications for an artist-teacher, or teaching artist. I reflect upon how my values and philosophy as an art educator have been formed from the synthesis of my experiences. My relationships with a gallery, its clients, and a fellow artist provide the context for reflecting about my process and gaining insights into my potential role as a model and influence on my future students.

Purpose and aim The purpose of this thesis has been to create a deeper understanding about the impact that the digitalization of the music business in the early 2000s and also the latter change, that in this paper is referred to as the sociodigital change, has had on artist brands. We will also analyze the positive and negative effects that this development may have had on the already existing brand environment and lastly also review the true importance of the professional industry’s competence. We have chosen the following research question in relation to the purpose; In what way has the basic conditions for artist brands within the music industry changed since the digitalization of the music industry in the early 2000s? Method For this study we initially took an inductive approach as we formed hypotheses based on experiences and previous knowledge which we then corroborated with theories. Based on an empirical problem that we observed in an early stage of the study, we conducted six interviews with people within the music industry. During the work process, we alternated between theories and our collected empirical data which resulted in the study adopting an abductive nature. Conlusions Our study revealed that the single largest change for the basic conditions of artist brands since the 2000s digitalization is the accessability of exposure. Due to the reason that it now has become easier to expose your brand as an artist, the number of brands, particularly in the lower and middle segments, has increased which has caused the competative environment to get tougher. However, our study demonstrates that the conditions for the largest, well-established artist brands has not been significantly affected. In our conclusion, we also point out the importance and relevance of the professional music industry’s competence and clout. Keywords Brand, artist, artist brand, competition, differentiation, digitalization

More information on Le Corbusier's early career as Charles-Edouard Jeanneret is gradually coming to light but little 18 yet known of him during his period of transition from being a minor architect in La Chaux-de-Fonds to a major one of great theoretical and practical influence in Paris. As one might expect he did not make this transition without considerable personal anguish and it was only because of the help afforded him by his friends and the influence of hi associates and mentors that it was made at all. These relationships and influences form the subject of this study which throws light on various unexpected sides of Le Corbusier's development. The research is primarily based on his records of the period, his personal documents including letters he sent to colleagues, relations and friends; interviews by the writer with his brother and contemporaries still living in Switzerland and Paris; together with published material on his life and work, including his own. As Le Corbusier did not become generally known by this name until 1925 his given name of Charles-Edouard Jeanneret is used throughout this thesis. The thesis has been divided 1ro two parts; the first covers the formative years of his life in La Chaux-de-Fonds from 1900 until 1917 when he left to live and work in Paris. The roots of many of his later convictions, activities and abilities lie in this period and the thesis traces the interconnecting links between, and the development of his four principal activities namely architecture, painting, writing and business. The second part pf the thesis covers Le Corbusier's first eight years in Paris (1917-1925) and examines the process by which he became, by the end of this period, established as one of the major innovators of the 'Modern Movement'.In the conclusion the writer draws together the major threads from the thesis to demonstrate how the transition from Charles-Edouard Jeanneret to Le Corbusier was achieved. The events and activities covered by this study have been placed within the context of the art1tic, economic and social life of the period in so far as Le Corbusier's development was affected.

In the way of museums, certain things have been collected and assembled for a display, a truth, in the form of a private room in which resides the dream world of the curator. Then, as the visual expression of this inner space deepens, they are carefully taken apart, always with respect for the original. Yet the work is not shaped by the hand of a conservator destined to abandon the imagination in favour of a trail of physical evidence. Nor does it reflect the conventional rationalist sensibilities of a museum worker who, by suppressing a poetic understanding of the world is confined by "cold language" (Frame 1992 p.45) and remains caught inextricably in the web of colonial thinking.Here the imagination is truth (Einzig 1996) and an understanding of the nature of this inner space the key to the locked door. The Anthropologist and the Archaeologist, indeed a whole host of disciplinary specialists may come knocking, but it is the artist that gains access to the curatorial spirit. Compelled as much by a love of the museum profession as a crisis of European consciousness (Spivak in Harasym 1990), objects are assembled for an inner journey to a place where shadow and sunlight chase each other across the landscape (McQueen 2000). This is the dialectic space of both curator and artist, of the rational and the irrational, of inside and outside, and of disciplinary devotion and betrayal.

Master of Visual Arts / My research paper is an attempt to begin to articulate and document my lived experience of being both a mother and an artist. Underpinned by research into the cultural and social history of the experience of mothering and the cultural institution of ‘motherhood’, I revisit and reinterpret some of my earlier works, and explore issues of identity brought up by the relational experience of mothering. I seek out other women who are, or have been, both mothers and artists – particularly sculptors – whose work relates to their subjective experiences of mothering. From them I select and investigate both works, and reflections, which I feel resonate with my own experience of combining the roles of mother and artist. Against this background I describe and interpret my own recent body of work, drawn from my subjective experience of becoming, and being, a mother whilst continuing my artistic practice.