The current study will investigate how identities and roles of the artist converge with competing identities and roles fostered at the institutional level within an art college as revealed through the marketing literature that they produce to attract students and business partnerships. The sociological focus for this proposal is the tension between art as a creative expressive endeavor and art as a commodity that has entered into social transactions unintended by the original expression of the artist. The researcher documents and describes (via narrative analysis) how an art school negotiates competing relationships between the pressures to teach and promote art for the sake of aesthetic and personal value (autonomy) versus the pressure to teach and promote art for school subsidized market values. The data for the current study will come from the Ringling College of Art and Design website and brochures from the school that advertise the educational opportunities available to prospective students. The analyses will focus on the particular language, cultural codes, and stories that the school uses to describe the 1) identity and purpose of the institution, 2) types of students (ideal students) they are looking for to attend the school, 3) artistic opportunities open to students, 4) types of collaborations with organizations/businesses outside of the institution, and 5) goals, and production/consumption of art.

An artists's approach to studio practice reflects knowledge acquired from a variety of source. Various methods are tried, modified, and re-interpreted, culmination in a studio practice that reflects one's own understanding of process and work ethic. This process is the work and the work practice concealed in the artwork, is rarely framed in verbal language. Martin Heidegger offers a particular philosophy of work practice that is clarified in words, allowing me to place my present understanding of studio practice within the notion of Greek techne. This essay is an explication of two works by the German philosopher Martin Heidegger, namely 'The Question Concerning Technology' and 'The origin of the Work of Art.' Heidegger's notion of authentic production and truth in art, provide a contextual framework within which I place my own understanding of studio practice and creative process. This method of work practice positions the artist as facilitator, co-dependent and co-responsible with the materials and form. The artist responds to the needs of the work allowing the materials and form to interact and ultimately reveal the work's true identity. Inherent in this work practice is the artist's knowledge, technical skill and commitment to process rather than outcome. This method of work practice is used in many cultures, from eastern calligraphy to western action painting, and has influenced contemporary artists too numerous to name individually. I am indebted to them all / Master of Arts (Hons) Visual Arts

In the past and present the inter-gender relationship has been based on male domination resulting in the overlooking of the female role and value. Many male-inspired theories helped to establish this hierarchical relationship and to perpetuate the belief that men and women have been created differently and not equally privileged. My research on the status of Korean women verifies these theories by examining how much social and cultural conditions have contributed to the difference between the genders to the disadvantage of women. It also reveals the distortion of patriarchal theories by investigating the principle of Confucianism which led to the depravation of Korean women's opportunities to develop themselves. The present level of achievement for women's equality is the result of these women's struggles. I as a women artist, present my work so that it will help both men and women to raise their awareness and to eliminate the prejudice towards females in society. The early principle of the Yin and Yang, distorted later for political benefits, implied a cooperative relationship of two forces for creation and development. Although these force are different and independent, when used cooperatively, they make a complete picture of stability and harmony. If they remain separate forces there is no resulting completion of creation, but instability and misfortunes. By disclosing this principle of harmony in Shamanism and early Confucianism, I also present the notion that all kinds of misfortunes come out of a broken harmony between creatures, peoples, and genders. / Master of Arts (Hons)

By the 1990's many modes of artwork incorporated the constructs of the museum. Art forms including, 'ethnographic art', 'museum interventions', 'museum fictions' and 'artist museums' were considered to be located in similar realms to each other. These investigations into this emerging 'genre' of collection-art have primarily focussed upon the critique of the public museum and its grand-narratives. This thesis will attempt to recognise that the critique of institutional hierarchical systems is now considered integral to much collection art and extends this enquiry to incorporate private collections which examine the narratives of everyday existence. This paper adopts an interdisciplinary approach to material culture and art criticism in examining everyday objects within contemporary collection-art. In this context, this paper argues that: the investigation of collection motivations (fetish, souvenir and system) as metaphor, process and imagery in conjunction with the mimicking of museology methodologies (classification, order and display) is an effective model for interpreting everyday objects within contemporary collection-art. In formulating this argument, this paper examines the ways in which artists emulate museology methodologies in order to convey cultural significance for everyday objects. This is explored in conjunction with the employment of collection motivations by artists as a device to understand elements of human/object relations. In doing so, it contemplates the convergence between the practices of museums and collection-artists. These issues are explored through the visual and analytic investigations of key artist case studies including: Damien Hirst, Sylvie Fleury, Mike Kelley, Christian Boltanski, On Kawara, Luke Roberts, Jason Rhoades, Karsten Bott and Elizabeth Gower. In doing so, this paper argues that the everyday objects of collection-art can represent a broad range of socio/cultural concerns, so delineating a closer relationship between collection-art and material culture.

The study sought to investigate the nature of learning that occurs in two different approaches (integrated and non-integrated) to an artist-in-residency program. The program was conducted in middle phase schooling, and adopted the principles of authentic learning. Two year five classes and their teachers participated in the study. The residency provided learning experiences that connected to the curriculum unit theme for one year five class (integrated), but not for the other year five class (non-integrated). These experiences were designed to relate to the learner's lived experiences and promote higher-order thinking processes. The study sought to explore the potential for visual arts residencies to foster more 'authentic' modes of learning. The study examined children's ability to transfer knowledge, gained through the visual and verbal analysis of images, by manipulating and integrating diverse information and ideas. Grounded Theory was deemed to be an appropriate research methodology for this study as it involves gathering data in field settings and applying inductive methods to analyze this data. Diverse data collection strategies were implemented including: teacher stories, interviews, student reflection, researcher observations and student artworks. LeximancerTM software was selected as an instrument for analyzing data. This software was considered appropriate as it fosters a descriptive and interpretive approach to analysis. The findings of the study indicated that children who participated in the integrated artist-in-school's curriculum program demonstrated more evidence of higher-order thinking processes than children who participated in the non-integrated program. The participants undertaking the integrated approach were able to establish relatively complex relationships between the central residency concepts, demonstrating an ability to use visual and verbal codes of communication to articulate their ideas, knowledge and experiences. A further important finding identified positive student behavioural outcomes, where the integrated residency approach appeared to connect group members as small supportive learning communities. The study also identified a transition in the teacher's perspectives on teaching and learning after participating in the integrated approach. This research project has significance both nationally and internationally by investigating current practices in artist-in-schools programs that both enhance and hinder educational outcomes. The study has significance to the broader educational community in terms of its focus on the role of visual arts specialist adjuncts in maximising learning outcomes. The findings of this study could provide insight into the interrelationship between visual arts and other curriculum areas to heighten student learning outcomes. The findings of the study illustrate how particular approaches to visual art in education can enhance children's learning and development. These insights can assist artists undertaking residencies in schools, and the teachers involved, to provide richer learning experiences. The findings provide ifirther evidence to support an approach that involves close collaboration between resident artists and educators. It is recommended that the residency learning experiences are connected to the children's lived experiences and that there is social support from teachers, parents and peers. It is also argued that for a residency to be considered 'authentic', the approach requires a number of essential and valuable attributes. These essential and valuable attributes have two tiers of application which coalesce to contribute to the efficacy of a school art residency.

<p>Syftet är att granska relationen mellan konstnären och marknaden. Flertalet frågor behandlas, såsom om konsten och konstnärer står inför ett paradigmskifte, varför det är fult att säga konst och pengar i samma mening och vad verksamma konstnärer tycker om situationen.</p><p>Uppsatsen redogör för begreppet konstnär ur ett historisk och sociologiskt perspektiv. Förutsättningar för konstnären gås igenom med fokus på kulturpolitiken från 1974 tills idag, och marknaden. Fyra konstnärer har intervjuats för att skapa en bild av den realiteten som de verkar i, hur de ser på konstnärskapet och den bästa av världar.</p> / <p>The purpose is to study the relationship between the artist and the market. Several questions are dealt with, such as does art and artists stand before a paradigm shift, why's it a bad thing to mention art and money together and what do the working artist think about the situation.</p><p>The thesis deals with concept of the artist from a historical and sociological point of view. Preconditions for artists are clarified with a focus on cultural policies from 1974 and onwards. Four artists have been interviewed to create a picture of the working reality, what they think about their artistry and what the best of worlds look like.</p>

<p>The goal of this bachelor thesis is to explain how computer game graphic artists at the game company Digital Illusions(Dice) has changed during the last six years. To give this question a background the essay describes how the computer game process works and it also describes the working roles for the peoples in the process. Further the thesis describes the changes for the computer game graphic artist and the reasons for this change. When it comes to Digital Illusions the thesis focus on the game Battlefield 1942. The work began with telephone interviews with game artists at the largest game company’s in Sweden, witch gave us indications of the fact that the status and the influence of the production of the game for the game artists had been ascending during the last six years. We therefore wanted to find out the reasons for this change, as well as finding one single game to study. We therefore interviewed three of the responsible computer game artists for the game Battlefield 1942. We also went to the computer game education Playground Squad in Falun for two days of interviews and observations. We concluded that the computer game graphic artists had increased during the last six years primarily caused by the fact that computer game graphics more and more had been used as means of marketing and the fact that the knowledge and the making use of editors among the artists has increased. </p>

In A Portrait of the Artist as a Young Man, James Joyce used the form or structure of his language to connote a meaning which supported the content of the text. The elements of form he used most often were sentence and paragraph structure, punctuation, rhythm, and classical rhetorical schemes. By manipulating these, he gained three benefits: he supplied an emotional appeal to the content, he represented his epistemological beliefs in his language, and he gave elegance to his prose. Background research reveals the influences that led to Joyce using form to support content. They include his Jesuit education, his own predisposition to the connotative aspects of language, and his literary work previous to Portrait. The examination of the text of Portrait exhibits the particular ways Joyce used the elements of form to fit content. Several of the highly emotional episodes of the story, the most likely to contain form-fitting-content examples, are examined in detail. Attention is given to rhetorical schemes of repetition because it is through these schemes that emotional pitch is adjusted in the story. Joyce's innovative use of syntactical structures to fit content, and his application of such poetic forms as rhythm and meter to simulate physical action are discussed. An examination of the end of the book, a section where rhetorical schemes and structural manipulation seems to disappear, shows how the apparent lack of connotative elements is appropriate to making a new form fit a new content. The use of form to support content in Portrait was an artistic commitment which Joyce began in Portrait. He would continue and intensify his commitment in all of his writing after Portrait. How Joyce wrote would always thereafter be determined by what he wrote about. / Graduation date: 1995

The goal of this bachelor thesis is to explain how computer game graphic artists at the game company Digital Illusions(Dice) has changed during the last six years. To give this question a background the essay describes how the computer game process works and it also describes the working roles for the peoples in the process. Further the thesis describes the changes for the computer game graphic artist and the reasons for this change. When it comes to Digital Illusions the thesis focus on the game Battlefield 1942. The work began with telephone interviews with game artists at the largest game company’s in Sweden, witch gave us indications of the fact that the status and the influence of the production of the game for the game artists had been ascending during the last six years. We therefore wanted to find out the reasons for this change, as well as finding one single game to study. We therefore interviewed three of the responsible computer game artists for the game Battlefield 1942. We also went to the computer game education Playground Squad in Falun for two days of interviews and observations. We concluded that the computer game graphic artists had increased during the last six years primarily caused by the fact that computer game graphics more and more had been used as means of marketing and the fact that the knowledge and the making use of editors among the artists has increased.

Denna uppsats syftar till att få en inblick i hur frilansande folkmusiker i Sverige gör för att lansera sig själva som artister, vilka redskap som används samt vilken funktion dessa redskap fyller. Detta har undersökts genom kvalitativa intervjuer med fyra frilansmusiker inom den folkmusikaliska genren. Musikbranschens förändrade förutsättningar, ställda i relation till Lundberg, Malm &amp; Ronströms (2000) begrepp görare, vetare och makare, utgör de teoretiska utgångspunkterna för uppsatsen. Dessa begrepp har i uppsatsen omformats till de tre nya begreppen individen, arenan och branschen. Resultatet visar att respondenternas artistlansering är en medveten process som består av många komponenter. Studien lyfter fram och problematiserar artistens entreprenörskap som utöver det konstnärliga utövandet även innefattar roller såsom exempelvis agent, distributör, marknadsförare och företagare. Musikern som individ använder, med utgångspunkt från drivkraften att musicera, branschen och dess arenor för att framhäva sig själv på marknaden. Undersökningen visar indikationer på att det finns essentiella faktorer när det gäller marknadsföring av artister, där grunderna baseras på att tala om att verksamheten finns, förklara vad som är bra med den, upprepa budskapet och sedan leva upp till det. Respondenternas strategier för att försörja sig som frilansmusiker går ut på att med hjälp av olika redskap hålla verksamheten levande och lönsam. Det gör de genom att exempelvis göra sin musik lättillgänglig och visa en tydlig profil samt genom att bygga ett kontaktnätverk, synas i gynnsamma miljöer och dra nytta av olika bidragsmöjligheter. Det har också framkommit att folkmusikernas marknadsföring och varumärkesbildande utförs till största del över Internet via hemsidor, sökmotorer, e-post och sociala medier. / The paper aims to gain insight into how freelance musicians in Sweden are doing to launch themselves as artists, the resources used and their function. This has been examined through qualitative interviews with four freelance musicians in the genre of folk music. The changing conditions of the music industry, in relation to Lundberg, Malm &amp; Ronström’s concept görare, vetare and makare, are the theoretical basis for the paper. These concepts have in the paper been transformed to the three new concepts of the individual, the arena and the industry. The results show that the respondents' role as an artist is a deliberate process that consists of many components. The study highlights and discusses the artist's entrepreneurship that goes beyond the artistic exercise, and also includes roles such as agent, distributor, marketer etc. The musician as an individual, with the urge to make music as a point of departure, uses the industry and it’s arenas to highlight him or herself in the market. The study indicates that there are essential elements in the marketing of artists which are based on informing people about the activity, explain what is good about it, then repeat the message and live up to it. Respondents' approaches to living as a freelance musician is to keep the business alive and profitable by using various tools. They do this for example by making their music accessible, show a clear profile, build a contact network, be seen in favourable environments and take advantage of various funding possibilities. It has also become apparent that the musicians´marketing and trademark creation is carried out largely over the Internet through websites, search engines, email and social media.