This paper maps themes (e.g. family, beauty, femininity, gender, blackness, representation) and artists from the Black arts and Feminist art movement who have been very influential when planning this senior art project. I specifically look at the works of Black feminist artists such as Betye Saar, Faith Ringgold, Carrie Mae Weems, Kara Walker, and Mickalene Thomas who navigate themes from both movements. In my project I have painted a series of interpretive acrylic portraits of close friends and family members, all adapted from photographs.

This project offers an analysis of how the transformative power of creative process in learning offers humankind relational connections with the natural environment. It supports the recommendation that educational institutions move towards a transformative creative learning process. The paper argues that by teaching children through assumptions of the world as in constant creative becoming humankind will move toward a more encompassing, coherent story of the universe which allows for the increasing self-actualization of individuals. After offering a theoretical discussion of the transformative power of creativity through the works of Brian Swimme, Edmund OSullivan and Alfred North Whitehead, the author provides descriptive, interpretive and critical narrative accounts of a teaching occasion created by her in which she illustrates her understanding of this transformative power.

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. 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. / 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. 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.

Many artist-teachers struggle to nurture and pursue their ambitions in their dual roles. The purpose of this research is to explore the nature of the professional practices of artist-teachers. While there is a substantial amount of research that provides models of artist-teachers, who teach at the post secondary levels, there are not many models for artist-teachers who teach primary and secondary age groups. Four artist-teachers, whose practices are currently contributing to the art world, as well as the educational world, were interviewed for a multiple case study. The roles represented in the study include painters, sculptors, a ceramist, a musician, a performance artist, art teachers, a music teacher, and a performance-art educator. This multiple case study provides four models of artist-teachers whose professional practices contribute to their identity and fulfillment in their dual roles. The study reveals the artist-teacher’s practice as an artist, practice as a teacher and relationship between the dual roles.

This project offers an analysis of how the transformative power of creative process in learning offers humankind relational connections with the natural environment. It supports the recommendation that educational institutions move towards a transformative creative learning process. The paper argues that by teaching children through assumptions of the world as in constant creative becoming humankind will move toward a more encompassing, coherent story of the universe which allows for the increasing self-actualization of individuals. After offering a theoretical discussion of the transformative power of creativity through the works of Brian Swimme, Edmund OSullivan and Alfred North Whitehead, the author provides descriptive, interpretive and critical narrative accounts of a teaching occasion created by her in which she illustrates her understanding of this transformative power.

The study focuses the evil within human beings and evil actions against other humans and the human kind. The evil is defined as evil actions such as murder and actions in war. The questions asked is whether the evil has a face and if it is possible in that case to paint that kind of face. The medieval mural paintings in old churches include Cain murdering his brother Abel based on the Bible. The study also includes reliefs, sculptures in stone describing Cains´s murder of Abel and sculptures with the Massacre of the Innocents in Bethlehem according to the Bible. These pieces of medieval art are compared with the paintings of evil faces by some modern artists. The method used in the analysis is Panofsky´s iconological method. The result shows that the medieval art is formally more strictly structurer and that the modern artists have a more personal style. In addition to this fact is the different purpose of the different kinds of art. The medieval mural paintings are storytelling from the Bible and modern art is based on influences from other artists in art history and the artists´own ideas and thoughts in a more persoanl way of painting. The meaning in medieval art is more clear and obvious than that in the modern art. The conclusion reached at is that evil exists but that one cannont talk about a special face of the evil.

Industrial remains can be found in many regions that experienced industrialization. However, they are, in general, at risk of loss through destruction and abandonment. Promoting tourism can be a helpful tool for regional restructuring and economic development. The creative economy is also emerging as a powerful tool for reinvigorating economic growth, employment and social cohesion of those areas, which may affect the development of touristic activities and industries. However, little research has been done to link creative economy theory and industrial heritage tourism. This paper elaborates on and clarifies the link between industrial heritage tourism and creative economy, and illustrates the impact of creativity and the driving role of the creative class in industrial heritage tourism through a case study. The study site, 798 art zone, is a newly emerged tourism destination in China which developed based on an abandoned soviet-style factory. Through analyzing the initiation status of tourism development in the factory, the interests of visitors, the influences of tourism, and the role of artists, the research reveals the dramatic change under the impact of tourism and more recently added development boom that has taken place at the 798 art zone. The findings identify the characteristics of 798 art zone in different periods and the contributions of the artist community to the art zone. Unlike most industrial heritage tourism sites, the development of 798 art zone was bottom up owing to the creativity of artists. With their creative eyes, artists identified the special features of the abandoned factory (high ceilings, historic design, open spaces, and abundant natural light), and used their creativity to add artistic feelings to this area. When the factory was facing the fate of being razed, they pulled together. With their efforts, the factory was preserved and 798 art zone was acknowledged by the government. The results are in accord with the creative economy theory that creativity is the driving force of economic development and improve the understanding of how creativity and tourism interact. The development pattern of 798 art zone might not apply precisely to any other places in the world, but it provides an effective alternative model for revitalization of old industrial sites as well as other tourism sites. Some management related suggestions and concerns about 798 art zone and tourists profile are proposed. Both practical implications and academic insights are presented based on the major findings of this study.

There are those who currently use social networks as a marketing tool that creates the standards that exist. There is no given standard, there are no absolute facts that exist through all time. A constant change is happening and therefore forcing everyone involved to adapt and make the changes needed to be current. What is relevant to consider in this study are the different roles a freelancer creates on the various channels of social media. Based on the results of the interviews that have been conducted the informants create different identities at different forums they reside on. Another important point to address is the brand awereness informants consciously

Industrial remains can be found in many regions that experienced industrialization. However, they are, in general, at risk of loss through destruction and abandonment. Promoting tourism can be a helpful tool for regional restructuring and economic development. The creative economy is also emerging as a powerful tool for reinvigorating economic growth, employment and social cohesion of those areas, which may affect the development of touristic activities and industries. However, little research has been done to link creative economy theory and industrial heritage tourism. This paper elaborates on and clarifies the link between industrial heritage tourism and creative economy, and illustrates the impact of creativity and the driving role of the creative class in industrial heritage tourism through a case study. The study site, 798 art zone, is a newly emerged tourism destination in China which developed based on an abandoned soviet-style factory. Through analyzing the initiation status of tourism development in the factory, the interests of visitors, the influences of tourism, and the role of artists, the research reveals the dramatic change under the impact of tourism and more recently added development boom that has taken place at the 798 art zone. The findings identify the characteristics of 798 art zone in different periods and the contributions of the artist community to the art zone. Unlike most industrial heritage tourism sites, the development of 798 art zone was bottom up owing to the creativity of artists. With their creative eyes, artists identified the special features of the abandoned factory (high ceilings, historic design, open spaces, and abundant natural light), and used their creativity to add artistic feelings to this area. When the factory was facing the fate of being razed, they pulled together. With their efforts, the factory was preserved and 798 art zone was acknowledged by the government. The results are in accord with the creative economy theory that creativity is the driving force of economic development and improve the understanding of how creativity and tourism interact. The development pattern of 798 art zone might not apply precisely to any other places in the world, but it provides an effective alternative model for revitalization of old industrial sites as well as other tourism sites. Some management related suggestions and concerns about 798 art zone and tourists profile are proposed. Both practical implications and academic insights are presented based on the major findings of this study.

I denna uppsats läggs fokus på skivbranschen och vad folk inom branschen anser omdess funktion och roll.Syftet med uppsatsen är att återge skivbolagens egna tankar och åsikter och jämföradessa med årsredovisningar från branschorganisationer, rapporter, litteratur,vetenskapliga artiklar samt den allmänna uppfattningen hämtad från blogg- ochforuminlägg och tidningsartiklar.Uppsatsen bygger till största delen av intervjuer med totalt sex personer som ärverksamma i branschen från den allra högsta nivån av multinationella bolag till deabsolut minsta.Den bild som framkommer i uppsatsen visar på att den vanligt förekommandeuppfattningen om att skivbolagen idag spelat ut sin roll är felaktig. Skivbolagen hjälperartister med bl.a. marknadsföring, utvecklingen av musik, all administrering samt att dehar de resurser som krävs för att nå ut till den breda massan. Det är dock beroende påvar i karriären man befinner sig och vad artisten själv vill uppnå. För vissa kan detsåledes vara onödigt. Uppsatsen visar även att skivbolagens roll förändrats drastiskt pågrund av bl.a. utbredningen av ny digital teknik. Det är också möjligt att på grund avdessa nya förutsättningar kan rollen förändras ytterligare i framtiden.Skivbolagen arbetar numera på en betydligt bredare front än tidigare. Verksamhetencentreras inte runt den fysiska försäljningen utan förlags- och licensieringsverksamheterär mycket aktuella. Samarbetet mellan små och stora skivbolag påvisas tydligt, en formav samarbete där båda parterna i många fall är beroende av varandra. De mindrebolagen förefaller även vara mer benägna att ta risker i samband med kontraktering avnya akter.