This study examined the effect of diagnostic label (schizophrenia, depression, diabetes, or amateur) on perceptions of an artist as measured by social distance, perceptions of aggressiveness, artwork favorability, and monetary value (of artwork). Previous contact with a person hospitalized for mental illness was assessed to determine its moderating effects. Participants were 165 undergraduate students (118 female, 47 male). Results found a significant main effect for label on perceptions of aggressiveness, but not on social distance, artwork favorability, or monetary value. Although artwork was evaluated favorably regardless of label, the label of schizophrenia increased perceptions of aggressiveness, but showed suggestive effects on social distance and artwork favorability. The overall findings suggest a complex relationship between the label of mental illness, previous contact, and the relative sensitivity of perceptions of aggressiveness and social distance to these effects. / Department of Psychological Science

Abstract of Making Their Way—Making Art and Making Money: The working lives of visual artists with disabilities Susan Agatha Maley People with disabilities have marked lower rates of employment than people without disabilities in both Australia and the United States, the countries chosen for this research inquiry. That this is the case decades after the introduction of anti-discrimination laws in these developed democratic countries highlights the continuum of constraints people with disabilities still experience in securing work. Some of these constraints include socially discriminatory attitudes and perceptions, the lack of available accommodations and adaptations in work settings (and the misconception that they will be onerous and expensive to implement), lack of accessible transportation, the unavailability of work within established job markets and the restrictions of vocational rehabilitation and disability employment programs’ past focus on existing jobs in organisational settings. These constraints have a negative impact on the overall quality of life for many people with disabilities as employment is a key component to individual self-sufficiency and personal fulfilment and also crucial to inclusion in community and social settings. Among the notable initiatives to address these persistent inequities are research-informed projects focusing on self-employment as a viable alternative mode of employment to the established job market. Within the last decade, myriad research reports, model demonstration projects, and a US national research program, funded by the Office of Disability Employment Policy, have been demonstrating the success of self-employment in expanding self-determined income generation. Within this burgeoning and productive investigation on self-employment, one gap is that there has been little focused inquiry on creative work. Such a void is significant since the predominant work mode among visual artists is self-employment, albeit sometimes supplemented with other arts, and non-arts related work. This study addresses the lack of investigation of artists’ modes of work by examining the working lives of practicing professional visual artists with a range of significant physical, sensory and neurological disabilities. There are a number of reasons for this research study’s focus on the area of visual arts. Visual arts has been documented to be one of the largest groups among artistic disciplines in studies in both Australia and the US, as well as European countries. Within this sizable arts arena, there are established and emerging markets for sale of visual arts products. This discipline can also offer flexible work locations, hours and adaptations in art making. Thus, there may be numerous benefits to pursuing careers in the visual arts for creative people with disabilities. Yet, little is known about the lived work experience of practicing visual artists with disabilities and their career strategies. Thus, an exploration of visual artists with disabilities working in a range of mediums such as this research study can reveal new, and potentially useful, knowledge about their methods of art-making and marketing, adaptations in the design and execution of their work, their experiences of disability and the facilitators and obstacles they face when preparing for and pursuing their working lives as artists. This research study is based on the results of in-depth, face-to-face interviews of twenty-one visual artists, eleven in Australia and ten in the US, who used multiple artistic mediums. The conceptual lens for the analysis is intersectionality with an underlying critical realism foundation. These theories were used to explore the intersecting social positions of being a person with a disability and a practicing artist and the related interplay of agency and structure in shaping the careers of these artists. The main findings from this research focus on how the artists in this study made their way, made art and made money. These findings commence with an examination of the early shaping and continued sustaining influences in their artistic development and education. It continues with an exploration of the influence of their disability experiences on making art including their adaptive methods and conceptual process. The analysis continues with a focus on factors involving their means of making money, marketing and self-promotion methods and professional progressions. The findings conclude with an analysis of aids and obstacles these artists with disabilities experienced during interactions with a range of organisations including disability employment and vocational rehabilitation counselling and financial support agencies, arts educational institutions, art galleries and arts and disability agencies. Highlights of the findings are that the majority of the artists in the study earned their income from arts and arts related work, that they made active use of their own personal and collective agency to meet their artistic and professional goals and that their actions influenced structural change. They also positioned aspects of their social and personal identity to best suit their career progressions and some made artistic use of their conceptions of disability with innovative impact on social conceptions of disability. Implications of these findings are that artists experiencing disability developed strategic skills to negotiate difficult terrain while forging an income-producing arts practice. In addition, their creation of new options for themselves, and other artists with disabilities, has wider implications for improving equity for artists with disabilities.

Thesis (M.A.)--Ohio University, June, 2007. / Title from PDF t.p. Includes bibliographical references.

Thesis (M.A. (Hons.))--University of Western Sydney, Nepean, 1995. / Bibliography: leaves 59-66; includes bibliographical footnotes.

Thesis (M.A.) - Carleton University, 2006. / Includes bibliographical references (p. 108-114). Also available in electronic format on the Internet.

Zugl.: Neubiberg, Universiẗat der Bundeswehr München, Diss., 2005.

Thesis (Ed.D.)--Teachers College, Columbia University, 1993. / Includes tables. Typescript; issued also on microfilm. Sponsor: Justin Schorr. Dissertation Committee: Angiola Churchill. Includes bibliographical references (leaves 153-163).

In this study I interviewed fourteen professional, First Nations women artists who work predominantly in the so-called men's style of Northwest Coast art. I conclude that these artists challenge the rigid dichotomy set forth in the literature between men's and women's art by successfully working as carvers and designers in the formline style. / Arts, Faculty of / Anthropology, Department of / Graduate

This study investigates the multiple occurrence of violent sacrificial imagery associated with animalistic and hunted bodies in the work of selected South African female artists as an articulation of the society in which the art was created. The theoretical framework of corporeal feminism is applied with reference to the postulations of George Bataille (1962), René Girard (1972) as well as Deleuze and Guattari (1984,1987), specifically with regard to the notion of becoming animal. This study shows how such imagery is used to act as a catalyst for social change by challenging Cartesian dualisms and forefronts certain issues applicable to women in a society that is patriarchal and violent. A comparison is made with the art of a selected group of Australian female artists who deal with similar themes and imagery from more or less the same timeframe. / Dissertation (MA)--University of Pretoria, 2014. / tm2015 / Visual Arts / MA / Unrestricted

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