Discute a construção de um conjunto de edifícios e galerias comerciais em meio ao processo de metropolização e modernização da cidade de São Paulo no século XX. Produtos de um momento de desenvolvimento acelerado da indústria imobiliária, no qual a verticalização na área central era incentivada e ao mesmo tempo controlada pela administração municipal, estes edifícios, datados dos anos 50 e 60 em sua maioria, foram empreendidos por grupos de investidores brasileiros associados a imigrantes europeus, escritórios de arquitetura e construtoras. Considerando sua origem histórica, ao investigar as referências européias, norte-americanas e principalmente a história paulistana, propõe-se a compreensão de sua produção pelo viés arquitetônico, social e mercadológico. O trabalho identifica as especificidades da construção dos edifícios e galerias comerciais resgatando o momento de constituição do centro novo como uma nova área de investimentos, em especial, no setor terciário. Contribui também para as pesquisas sobre os novos programas e novas tipologias ligadas às demandas da metrópole paulistana na segunda metade do século XX. / The construction of a set of commercial buildings and galleries is discussed as part of the metropolization and modernization of the city of São Paulo in the 20th century. Products of a period of accelerated development of the real estate industry, during which the verticalization in the downtown area was encouraged and at the same time controlled by the municipal administration, these buildings, most of them dating back to the 50 and 60\'s, were the enterprise of groups of brazilian investors associated with european immigrants, architectural offices, and builders. Considering their historical origin, when investigating the european and north american references and mainly the history of the city, we propose the understanding of their production from an architectural, social, and marketing viewpoint. The present work identifies the specificities of the construction of the commercial buildings and galleries by recovering the time when a new downtown area was constituted as a new area of investment, especially in the tertiary sector. It also contributes to research about the new programs and typologies linked to the demands of the São Paulo metropolis in the second half of the 20th century.

O dimensionamento e verificação estrutural de túneis envolve diversos parâmetros geotécnicos e o controle de diversas variáveis estruturais como, por exemplo, a convergência (fechamento) da cavidade, a pressão atuante no revestimento e o nível de descompressão do maciço. O campo de deformações e tensões que se desenvolve no entorno do túnel dependerá da profundidade, da geometria da seção, da distribuição de cargas na superfície, da heterogeneidade e distribuição das camadas de solo, do comportamento mecânico conjunto do maciço e do revestimento, bem como do processo de escavação e colocação do revestimento. Esse trabalho trata de simulações numéricas do comportamento a longo prazo em túneis revestidos com concreto, incluindo túneis gêmeos. Portanto, o maciço foi considerado com uma lei de comportamento viscoplástica, com superfície de cedência de von-Mises acoplada no modelo reológico de Perzyna, e para o concreto, foi considerada uma lei viscoelástica através das formulações de fluência e retração constantes no CEB-MC90 adaptadas à teoria da solidificação de Bazant & Prasannan (1989ª, 1989b). Para esse estudo foram construídos scripts de modelos bidimensionais axissimétricos e tridimensionais no software ANSYS. A implementação do modelo do concreto é feita através do recurso de customização do material que o ANSYS disponibiliza: a subrotina UserMat. O processo de escavação e colocação do revestimento é simulado através do recurso de ativação e desativação dos elementos finitos considerando uma velocidade de avanço constante. Além da validação do modelo do concreto, é feita a validação dos modelos dos túneis em elasticidade, plasticidade e viscoplasticidade sem e com revestimento elástico através de expressões analíticas e o software GEOMEC91 desenvolvido por Bernaud (1991), demonstrando excelente conformidade. Nos exemplos testados, a influência da viscoelasticidade do concreto pode aumentar as deformações em até 40% em comparação com o revestimento elástico, e a proximidade dos túneis longitudinais em cerca de 15% (fazendo com que o campo de deformações deixe de ser puramente radial). Também é estudada a influência de galerias transversais. / The structural desing and verification of tunnels involves several geotechnical parameters and the control of several structural variables, such as the convergence (closure) of the cavity, the pressure over the linning and the level of decompression of the rockmass. The field of deformations and stresses developed around the tunnel will depend of the depth, section geometry, surface load distribution, mechanical behavior of the rockmass and linning, as well as the process of excavation and placement of the linning. This dissertation deals with numerical simulations of long-term behavior in concrete lined tunnels, including twin tunnels. Therefore, for the rockmass it was considered a viscoplastic behavior law, with von-Mises yield surface coupled in the rheology model of Perzyna, and for concrete, it was considered a viscoelastic law through creep and shrinkage formulations in the CEB-MC90 adapted to the solidification theory of Bazant & Prasannan (1989a, 1989b). For this study, scripts were constructed for two-dimensional axissimetric and three-dimensional models in the ANSYS software. The implementation of concrete model is done through the material customization capabilities that ANSYS makes available: the UserMat subroutine. The process of excavation and placement of the linning is simulated through the activation/deactivation of finite elements considering a constant speed of advance of tunnel. The models are validated in elasticity, plasticity and viscoplasticity without and with elastic linning through analytical expressions and the software GEOMEC91 developed by Bernaud (1991), demonstrating excellent conformity. In the examples tested, the influence of viscoelastictity of the concrete can increase the deformations by up to 40% compared to the elastic linning, and the proximity of the longitudinal tunnels by about 15% (making the strain field no longer purely radial). The influence of transverse galleries is also studied.

Discute a construção de um conjunto de edifícios e galerias comerciais em meio ao processo de metropolização e modernização da cidade de São Paulo no século XX. Produtos de um momento de desenvolvimento acelerado da indústria imobiliária, no qual a verticalização na área central era incentivada e ao mesmo tempo controlada pela administração municipal, estes edifícios, datados dos anos 50 e 60 em sua maioria, foram empreendidos por grupos de investidores brasileiros associados a imigrantes europeus, escritórios de arquitetura e construtoras. Considerando sua origem histórica, ao investigar as referências européias, norte-americanas e principalmente a história paulistana, propõe-se a compreensão de sua produção pelo viés arquitetônico, social e mercadológico. O trabalho identifica as especificidades da construção dos edifícios e galerias comerciais resgatando o momento de constituição do centro novo como uma nova área de investimentos, em especial, no setor terciário. Contribui também para as pesquisas sobre os novos programas e novas tipologias ligadas às demandas da metrópole paulistana na segunda metade do século XX. / The construction of a set of commercial buildings and galleries is discussed as part of the metropolization and modernization of the city of São Paulo in the 20th century. Products of a period of accelerated development of the real estate industry, during which the verticalization in the downtown area was encouraged and at the same time controlled by the municipal administration, these buildings, most of them dating back to the 50 and 60\'s, were the enterprise of groups of brazilian investors associated with european immigrants, architectural offices, and builders. Considering their historical origin, when investigating the european and north american references and mainly the history of the city, we propose the understanding of their production from an architectural, social, and marketing viewpoint. The present work identifies the specificities of the construction of the commercial buildings and galleries by recovering the time when a new downtown area was constituted as a new area of investment, especially in the tertiary sector. It also contributes to research about the new programs and typologies linked to the demands of the São Paulo metropolis in the second half of the 20th century.

La création artistique de l’entre-deux-guerres en France est transformée par l’internationalisation du marché de l’art, la vitalité des avant-gardes et la diffusion sans précédent des revues d’art. La galerie d’art, par l’action de galeristes engagés et professionnels, s’impose alors comme un lieu central du marché de l’art moderne. Vouée au commerce des œuvres, elle se dote d’une identité nouvelle en faisant de son espace un lieu de socialisation et de débats intellectuels. Cette conjoncture explique en partie la naissance d’un nouveau mode de communication de la galerie d’art : la revue de galerie. Cet outil de promotion a pour principale mission de diffuser l’actualité des expositions et des artistes liés à la galerie. Mais il cherche également à être une tribune ouverte, un lieu d’expression et de dialogues où se rencontrent théories artistiques et synthèses du marché de l’art contemporain, règlements de comptes et pamphlets, littérature et poésie. Au-delà de sa dimension promotionnelle, la revue de galerie, objet sociologique, tisse des liens entre les différents acteurs d’un même cercle socio-culturel. Les principales revues de galerie de l’entre-deux-guerres (Les Arts à Paris, 1918-1935 ; le Bulletin de la vie artistique, 1919-1926 ; le Bulletin de la galerie B. Weill, 1923-1935 ; le Bulletin de l’Effort moderne, 1924-1927) mettent ainsi en place des modèles éditoriaux durables, qui perdureront tout au long du XXe siècle. Il s’agit d’un phénomène culturel international, de sorte que le contexte parisien ne peut être compris que par comparaison, notamment avec celui des Etats-Unis (revue 291), de la Belgique (Le Centaure) ou de l’Allemagne (Der Querschnitt), qui développent leurs propres spécificités. / Art production in France is changed in the interwar years by the globalization of the art market, the vitality of the avant-gardes and the unprecedented diffusion of art periodicals. The art gallery, through the actions of socially and politically committed art dealers, is becoming a major place for the modern art market. Dedicated to the trade of artworks, it acquires a new identity by encouraging socialization and intellectual debates. This context creates new communication means for art galleries: the art gallery magazine. As a promotion tool, the main mission of the periodical is to spread news about exhibitions and artists related to the gallery. Sustained by the ideals of their editors, they offer an open platform, an utopian space of free speech and dialogue, where art theories and contemporary art market analysis, score settling and satirical tracts, literature and poetry meet. Beyond its promotional function, the art gallery magazine, as a sociological object, also establishes links between the various players of a social and cultural group. The main gallery magazines of the 20th Century (Les Arts à Paris, 1918-1935; le Bulletin de la vie artistique, 1919-1926; le Bulletin de la galerie B. Weill, 1923-1935; le Bulletin de l’Effort moderne, 1924-1927) invent lasting editorial references that will last throughout the 20th century. Operating in Paris, art gallery magazines fall within an international cultural context, as demonstrated by the presence of such magazines in the United States (291), Belgium (Le Centaure) or Germany (Der Querschnitt), all developing their own specificities.

L’objectif de cette Thèse est de collecter, d’analyser et de faire connaître le contenu des archives internationales et familiales inédites, rendant compte, par leur diversité, des activités protéiformes de Michel Tapié de Céleyran (1909-1987). Inventant sa profession d’entrepreneur d’art en conciliant plusieurs activités : critique d’art, éditeur, conseiller artistique, courtier et collectionneur, il a mis en relation des galeries internationales en organisant, à travers le monde des expositions de ses artistes. Il a contribué aux destinées internationales de plus de cent-quatre-vingt artistes dont certains noms brillent, dans la constellation Tapié, plus que d’autres : Dubuffet,Mathieu, Pollock, Riopelle, Sam Francis, Tapiès, Saura, Fontana, De Kooning.Soucieux de se créer une position pour l’actualité et pour l’histoire, il inventa « Un Art Autre », un véritable système théorique et marchand s’appuyant sur des méthodes de communication qu’il sut créer avec l’aide de ses amis artistes de combat : l’édition au service de son autopromotion, la fabrication de l’événement à partir des expositions itinérantes relayées par la presse, en France, en Espagne, aux États- Unis, en Italie, au Japon et en Iran.« Il Profeta » est le surnom que lui attribuent les artistes italiens, séduits par la personnalité de Michel Tapié qui est venu en Italie apporter la parole de l’art Informel dont il inventa l’appellation. / The aim of this PhD thesis is to collect, analyse and promote the content ofunpublished international and family archives, highlighting the diversity of MichelTapié de Céleyran (1909-1987)’s activities. Tapié invented his own trade as an artentrepreneur, mixing several occupations: art critic, publisher, art councillor, trader and collector. He also connected together international galleries, organising exhibitions of his own artists, worldwide. He took part in the international fate of more than 180 artists, forming Tapié’s constellation, in which some names still shine more that others, such as Dubuffet, Mathieu, Pollock, Riopelle, Sam Francis, Tapiès, Saura, Fontana, De Kooning.Paying close attention to his own status in the current events and in history, Tapié invented « An Art of an Other Kind », which is a true theoretical and tradingsystem. Thus, he relied on communication methods that he created with the help ofhis battle friends: publishing for self promotion, creating a buzz based on travelling exhibitions, with media coverage in France, Spain, United States, Italy, Japan and Iran.« Il Profeta » was the nickname attributed to him by Italian artists, seduced by Michel Tapié’s personality, who came to Italy and brought in the Informal art’s word, which he invented the designation.

O dimensionamento e verificação estrutural de túneis envolve diversos parâmetros geotécnicos e o controle de diversas variáveis estruturais como, por exemplo, a convergência (fechamento) da cavidade, a pressão atuante no revestimento e o nível de descompressão do maciço. O campo de deformações e tensões que se desenvolve no entorno do túnel dependerá da profundidade, da geometria da seção, da distribuição de cargas na superfície, da heterogeneidade e distribuição das camadas de solo, do comportamento mecânico conjunto do maciço e do revestimento, bem como do processo de escavação e colocação do revestimento. Esse trabalho trata de simulações numéricas do comportamento a longo prazo em túneis revestidos com concreto, incluindo túneis gêmeos. Portanto, o maciço foi considerado com uma lei de comportamento viscoplástica, com superfície de cedência de von-Mises acoplada no modelo reológico de Perzyna, e para o concreto, foi considerada uma lei viscoelástica através das formulações de fluência e retração constantes no CEB-MC90 adaptadas à teoria da solidificação de Bazant & Prasannan (1989ª, 1989b). Para esse estudo foram construídos scripts de modelos bidimensionais axissimétricos e tridimensionais no software ANSYS. A implementação do modelo do concreto é feita através do recurso de customização do material que o ANSYS disponibiliza: a subrotina UserMat. O processo de escavação e colocação do revestimento é simulado através do recurso de ativação e desativação dos elementos finitos considerando uma velocidade de avanço constante. Além da validação do modelo do concreto, é feita a validação dos modelos dos túneis em elasticidade, plasticidade e viscoplasticidade sem e com revestimento elástico através de expressões analíticas e o software GEOMEC91 desenvolvido por Bernaud (1991), demonstrando excelente conformidade. Nos exemplos testados, a influência da viscoelasticidade do concreto pode aumentar as deformações em até 40% em comparação com o revestimento elástico, e a proximidade dos túneis longitudinais em cerca de 15% (fazendo com que o campo de deformações deixe de ser puramente radial). Também é estudada a influência de galerias transversais. / The structural desing and verification of tunnels involves several geotechnical parameters and the control of several structural variables, such as the convergence (closure) of the cavity, the pressure over the linning and the level of decompression of the rockmass. The field of deformations and stresses developed around the tunnel will depend of the depth, section geometry, surface load distribution, mechanical behavior of the rockmass and linning, as well as the process of excavation and placement of the linning. This dissertation deals with numerical simulations of long-term behavior in concrete lined tunnels, including twin tunnels. Therefore, for the rockmass it was considered a viscoplastic behavior law, with von-Mises yield surface coupled in the rheology model of Perzyna, and for concrete, it was considered a viscoelastic law through creep and shrinkage formulations in the CEB-MC90 adapted to the solidification theory of Bazant & Prasannan (1989a, 1989b). For this study, scripts were constructed for two-dimensional axissimetric and three-dimensional models in the ANSYS software. The implementation of concrete model is done through the material customization capabilities that ANSYS makes available: the UserMat subroutine. The process of excavation and placement of the linning is simulated through the activation/deactivation of finite elements considering a constant speed of advance of tunnel. The models are validated in elasticity, plasticity and viscoplasticity without and with elastic linning through analytical expressions and the software GEOMEC91 developed by Bernaud (1991), demonstrating excellent conformity. In the examples tested, the influence of viscoelastictity of the concrete can increase the deformations by up to 40% compared to the elastic linning, and the proximity of the longitudinal tunnels by about 15% (making the strain field no longer purely radial). The influence of transverse galleries is also studied.

O dimensionamento e verificação estrutural de túneis envolve diversos parâmetros geotécnicos e o controle de diversas variáveis estruturais como, por exemplo, a convergência (fechamento) da cavidade, a pressão atuante no revestimento e o nível de descompressão do maciço. O campo de deformações e tensões que se desenvolve no entorno do túnel dependerá da profundidade, da geometria da seção, da distribuição de cargas na superfície, da heterogeneidade e distribuição das camadas de solo, do comportamento mecânico conjunto do maciço e do revestimento, bem como do processo de escavação e colocação do revestimento. Esse trabalho trata de simulações numéricas do comportamento a longo prazo em túneis revestidos com concreto, incluindo túneis gêmeos. Portanto, o maciço foi considerado com uma lei de comportamento viscoplástica, com superfície de cedência de von-Mises acoplada no modelo reológico de Perzyna, e para o concreto, foi considerada uma lei viscoelástica através das formulações de fluência e retração constantes no CEB-MC90 adaptadas à teoria da solidificação de Bazant & Prasannan (1989ª, 1989b). Para esse estudo foram construídos scripts de modelos bidimensionais axissimétricos e tridimensionais no software ANSYS. A implementação do modelo do concreto é feita através do recurso de customização do material que o ANSYS disponibiliza: a subrotina UserMat. O processo de escavação e colocação do revestimento é simulado através do recurso de ativação e desativação dos elementos finitos considerando uma velocidade de avanço constante. Além da validação do modelo do concreto, é feita a validação dos modelos dos túneis em elasticidade, plasticidade e viscoplasticidade sem e com revestimento elástico através de expressões analíticas e o software GEOMEC91 desenvolvido por Bernaud (1991), demonstrando excelente conformidade. Nos exemplos testados, a influência da viscoelasticidade do concreto pode aumentar as deformações em até 40% em comparação com o revestimento elástico, e a proximidade dos túneis longitudinais em cerca de 15% (fazendo com que o campo de deformações deixe de ser puramente radial). Também é estudada a influência de galerias transversais. / The structural desing and verification of tunnels involves several geotechnical parameters and the control of several structural variables, such as the convergence (closure) of the cavity, the pressure over the linning and the level of decompression of the rockmass. The field of deformations and stresses developed around the tunnel will depend of the depth, section geometry, surface load distribution, mechanical behavior of the rockmass and linning, as well as the process of excavation and placement of the linning. This dissertation deals with numerical simulations of long-term behavior in concrete lined tunnels, including twin tunnels. Therefore, for the rockmass it was considered a viscoplastic behavior law, with von-Mises yield surface coupled in the rheology model of Perzyna, and for concrete, it was considered a viscoelastic law through creep and shrinkage formulations in the CEB-MC90 adapted to the solidification theory of Bazant & Prasannan (1989a, 1989b). For this study, scripts were constructed for two-dimensional axissimetric and three-dimensional models in the ANSYS software. The implementation of concrete model is done through the material customization capabilities that ANSYS makes available: the UserMat subroutine. The process of excavation and placement of the linning is simulated through the activation/deactivation of finite elements considering a constant speed of advance of tunnel. The models are validated in elasticity, plasticity and viscoplasticity without and with elastic linning through analytical expressions and the software GEOMEC91 developed by Bernaud (1991), demonstrating excellent conformity. In the examples tested, the influence of viscoelastictity of the concrete can increase the deformations by up to 40% compared to the elastic linning, and the proximity of the longitudinal tunnels by about 15% (making the strain field no longer purely radial). The influence of transverse galleries is also studied.

A lot of research on the experience of atmosphere uses physical measurements. However, a recognised idea among lighting designers is that these physical values and the experience of light is not always the same, which makes it relevant to work more with visual observations to understand and analyse spatiality and the effects of light. The purpose of the study was to investigate how spaciousness and atmosphere in museum and art gallery environments can be linked to their lighting and art. This is to provide an increased understanding of how light affects spatiality and how it relates to the room’s atmosphere, and to be able to see how the atmosphere is experienced in connection with the exhibits. The study was conducted through visual observations during site visits, for each evaluated room at each museum and art gallery. The rooms were analyzed using the PERCIFAL and Branzell methods, but the values of illuminance, color temperature, color rendering index, and spectral power distribution were also documented. Additionally, an online survey was sent out to collect further data concerning the experience of atmosphere. Part 1 was quantitative and focused on atmosphere words and was judged on a 7-point scale, while Part 2 was qualitative and focused on the connection between the exhibited object and the room. Here, the respondents responded in text form. The result of the study shows that the experience of atmosphere is affected by the interplay between light and spatiality, and that it is not one lone parameter that is decisive. The respondents thought that an interplay between atmosphere and the exhibited object could elevate the experience of art, and that light was a big part of how the room and its atmosphere was experienced. This shows that there are opportunities to work more with lighting in gallery spaces to create an atmosphere that connect more with exhibitions and objects. The study was limited to art-related exhibitions in Sweden. Due to the study was conducted in a very specific context it can not be said with certainty to be generally valid, though parts of the result pertaining to the atmosphere affecting parameters are likely able to use in other situations. / Mycket forskning om atmosfärsupplevelse använder sig av fysikaliska mätningar. En vedertagen idé bland ljusdesigners är dock att fysikaliska värden och det upplevda ljuset inte alltid är detsamma, vilket gör att det blir relevant att arbeta mer med visuella observationer för att förstå och analysera rumslighet och ljusets påverkan. Syftet med studien var att undersöka hur rumslighet och atmosfär i musei- och konsthallsmiljöer kan kopplas till deras belysning och konst. Detta för att ge en ökad förståelse kring hur ljuset påverkar rumsligheten och hur det anknyter till rumsatmosfären, samt att kunna se hur atmosfären upplevs i anknytning till utställningsföremålen. Studien utfördes genom visuella observationer under platsbesök i respektive rum för varje museum och konsthall. Rummen analyserades genom metoderna PERCIFAL och Branzellmetoden, men även fysikaliska värden som belysningsstyrka, färgtemperatur, färgåtergivning och spektralfördelning dokumenterades. Slutligen skickades en digital enkät i två delar ut. Del 1 var kvantitativ och fokuserade på atmosfärsord och bedömdes på en 7-gradig skala, medan Del 2 var kvalitativ och fokuserade på kopplingen mellan utställningsföremålet och rummet. Här hade respondenterna möjligheten att svara i textform. Resultatet i studien visar att atmosfärsupplevelsen påverkas av samspelet mellan ljus och rum, och att det inte är en enskild parameter som avgör. Respondenterna ansåg att ett samspel mellan atmosfär och utställningsföremål kunde förhöja upplevelsen av konst och att ljus hade en tydlig påverkan för hur rummet och dess atmosfär uppfattades. Detta visar på att det finns möjligheter att arbeta mer med ljus i utställningslokaler för att skapa en atmosfär som samspelar mer med utställningar och utställningsföremål. Studien har begränsats till enbart konstutställningar på museer och konsthallar i Sverige. Utifrån att detta arbete genomfördes i denna specifika kontext kan det inte med säkerhet sägas vara generellt giltigt, men vissa delar av resultatet kring de atmosfärspåverkande parametrarna är sannolikt möjliga att överföra i andra situationer.

This diploma thesis is built on prediploma project, whose aim was to create a strategy for converting of ground of textile factory Perla in Usti nad Orlici. During prediploma project functional content of the whole area was designed, for diploma thesis it was chosen part of this territory and it was processed in detail. Specifically, it was chosen the southwestern part of the area situated around a factory smokestack. Partly, there is a new use of existing buildings and partly there are designed new objects. Preserved buildings will be newly used as a museum, gallery, IQ center, formal hall, shops and offices. All new buildings in the selected area will be used for commercial purposes, namely for shops, offices, services and a cafeteria. Important city-forming elements are two squares: one smaller around the chimney, which is intimate, and the second square, which is larger, so there is enough room for holding various social events.

I sought to find out whether this was a tension between artistic and commercial in the career of visual artists, and if so, how this tension was managed. In attempting to uncover information which could address the research question I undertook in-depth career history interviews with artists which covered their time at art school through to their current practice. The career history method was deliberately chosen in order to address the research question at a tangent as both the literature, and my own personal experience of the field of contemporary visual art, had suggested that the topic of artistic and commercial was a sensitive one. By framing the interviews around the experiences the artists had through the time period of their training and career, I was able to approach the research questions indirectly from the perspective of the artists. Through analysis of the interview transcripts the framework of Bourdieu's capitals arose as one that would capably explain the activities which the artists were undertaken and I used this as a framing device for the empirical chapters in the thesis. In exploring ideas of cultural, social and economic capitals in relation to how artists describe the activities they undertake during their career it became apparent that the broad structures of cultural capital needed further refinement in their application to the careers of visual artists. In the thesis I chose to elaborate further on the concept of artistic capital which has, until now, been unexplored by scholars. I have developed an understanding of artistic capital as a subcategory of cultural capital with particular application to the field of contemporary visual art – with the potential for wider application beyond the thesis. The three capitals of artistic, social and economic proved a capable structure for understanding whether there was a tension between artistic and commercial and how artists managed this. Through this research I have found that artists come to believe, during their early career and training through art school, that there is a tension between artistic and commercial as this is perpetuated by institutions and art world participants through their exclusion or dismissal of commercial aspects of the visual art field. Through their careers they come to realise that this tension is less prevalent than they thought and that they are able to manage these two aspects of artistic and commercial more effectively. However, artists continue to be faced with instances where this tension is imposed upon them by other art world players who perpetuate the belief that there is an inherent, unresolvable tension between artistic and commercial. These individuals attempt to shield artists from this perceived tension later in their careers when artists are already adept at managing the competing priorities of artistic and commercial without the two creating tension.