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This thesis explores the Continuing Professional Development (CPD) of mid-career artists in England and the South West of England in particular during 2000 to 2010. It identifies what their needs are and asks what CPD means to them; how they navigate their careers through their practice; how they articulate their needs; and how they negotiate to fulfil those needs. It examines to what extent the providers’ thinking about, and provision of, CPD in the region is aligned with the needs of the artists themselves. The individual narratives of artists are represented at the centre of this research. The research was developed in collaboration with University of Plymouth and the CPD agency, ArtsMatrix Ltd. Research methods used to collect data included extended dialogues with the artists Alyson Hallett, Mariele Neudecker, Helen Poynor and Phil Smith, via a series of walking interviews, using walking as an ethnographic research tool. By walking I engaged with a literal momentum of movement paralleling the physical and theoretical momentums of the artists’ practices. Policy and literature reviews; group interviews; artist interviews; desk-based research; observation and attendance at artist-led seminars and practice groups were also used. The research contrasts two CPD Schemes: The Contemporary Craft Fellowship Scheme, and The Artist as Cultural Agent: DIY. The thesis includes a policy and provision review of CPD literature in the UK and South West of England over the past ten years; a mapping of South West CPD provision for artists; and the identification and application of relevant theoretical and critical approaches to place, space, language and momentum in order to consider CPD provision in relation to the articulation, situation and concept of a career. This thesis argues that the language of CPD can constrain as much as enable artists’ development; that the terms “mid-career” and “South West” are open to contestation and can affect provider conceptualisations of artists in the region; and that artists need professional development throughout their careers but may not name it as such. I advocate for policy and provision to understand artists’ need to be supported “throughout” their practices rather than at certain points in a career, and advocate walking as both a research method and as one of a number of facilitative practices for those who provide CPD with or for experienced artists. I also advocate for artist-led CPD initiatives and an administrative support agency for artists.

The creative class, creative economy and creative cities are all heralds of current North American planning directions. My research seeks to understand how the Art Factory, a multi-tenant and multi-purpose artist space, contributes to the lives of artists and the general creative potential of a city. This research is a case study of cre8ery, an art factory located in Winnipeg’s Exchange District, the gentrifying cultural quarter of the city. I interviewed ten artists, exploring how cre8ery affected their social, professional and economic lives. cre8ery serves as a gateway into the art world for emerging artists by providing stability and opportunities to them. In general, Art Factories are centres of cultural entrepreneurship, an activity essential to the health of artists and the city. I also explore the shift of the artist populations in Winnipeg due to gentrification, offering several policy initiatives that would either stem or support this shift. / February 2009

The creative class, creative economy and creative cities are all heralds of current North American planning directions. My research seeks to understand how the Art Factory, a multi-tenant and multi-purpose artist space, contributes to the lives of artists and the general creative potential of a city. This research is a case study of cre8ery, an art factory located in Winnipeg’s Exchange District, the gentrifying cultural quarter of the city. I interviewed ten artists, exploring how cre8ery affected their social, professional and economic lives. cre8ery serves as a gateway into the art world for emerging artists by providing stability and opportunities to them. In general, Art Factories are centres of cultural entrepreneurship, an activity essential to the health of artists and the city. I also explore the shift of the artist populations in Winnipeg due to gentrification, offering several policy initiatives that would either stem or support this shift.

The creative class, creative economy and creative cities are all heralds of current North American planning directions. My research seeks to understand how the Art Factory, a multi-tenant and multi-purpose artist space, contributes to the lives of artists and the general creative potential of a city. This research is a case study of cre8ery, an art factory located in Winnipeg’s Exchange District, the gentrifying cultural quarter of the city. I interviewed ten artists, exploring how cre8ery affected their social, professional and economic lives. cre8ery serves as a gateway into the art world for emerging artists by providing stability and opportunities to them. In general, Art Factories are centres of cultural entrepreneurship, an activity essential to the health of artists and the city. I also explore the shift of the artist populations in Winnipeg due to gentrification, offering several policy initiatives that would either stem or support this shift.

Cette thèse s’attache à mettre en lumière l’organisation du système des beaux-arts et les conditions de production des œuvres d’art en Espagne entre 1853 et 1898, autour de trois pôles principaux : Madrid, Barcelone et Séville. Dans cette période de crise politique et économique, généralement envisagée sous le prisme du paradigme du retard ou de l’échec, la désillusion des artistes fut une réalité. Loin de conduire à la passivité, elle engendra un désir de « régénération » culturelle, de nombreuses controverses sur la manière d’encourager les arts ainsi que tout un jeu de comparaisons et de regards portés vers l’étranger. Ce bouillonnement intellectuel fut à l’origine d’un renouveau des structures de promotion des arts se traduisant par la création de musées, d’expositions, de concours ou par la concession de pensions. L’analyse des missions artistiques de la Maison royale, du ministère du Développement, des députations, des associations artistiques et des sociétés économiques des amis du pays s’appuie sur des études de cas et révèle les acteurs à l’œuvre : petits ou hauts fonctionnaires, artistes méconnus ou renommés, hommes politiques. Fondé sur un vaste travail de recherche en archives, ce parcours dans le paysage des arts espagnols permet de mieux comprendre quels furent les objectifs, les conséquences et les spécificités de l’encouragement public et privé de l’art, d’un point de vue régional et national, dans un contexte de construction de l’État-Nation. / This dissertation aims to bring to light the organization of the fine arts system and the conditions under which works of art were produced in Spain between 1853 and 1898, centering on three leading cities: Madrid, Barcelona, and Seville. During this period of political and economic crisis, usually understood through the lens of the paradigm of Spanish backwardness or failure, the artists’ disenchantment was considerable. However, far from driving them into passive resignation, this spurred a desire for cultural "regeneration," born of countless debates over the way in which the arts should be supported and a keen interest in comparison with what was happening abroad. This intellectual exuberance led to a renewal of the institutions promoting the arts, giving way to the creation of museums, exhibitions, contests, and grants. The analysis of the artistic missions of the royal household, the Ministry of Development, diputaciones (provincial governments), societies of artists, and the various Economic Societies of Friends of the Country, relies on case studies and reveals the agents at work: senior and junior civil servants, not-known or famous artists, and politicians. Rooted in broad archival research, this journey through the world of Spanish art enriches our understanding of the goals, consequences, and specific features of the public and private support of the arts on a regional and national scale and within the context of the construction of the nation-state.

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