Syftet med denna uppsats är att bidra till en djupare förståelse för hursjälvständiga artister använder sig av sociala medier, dels för att nå ut till en publik,samt dels för marknadsföring inom den digitala musikindustrin. Uppsatsen nyttjarkvalitativa forskningsmetoder för både insamling av empiri samt analys av denna.Uppsatsens resultat, analys samt slutsats grundar sig i intervjuer genomförda med niosjälvständiga artister. Teorier som nyttjats vid analys är H. S. Beckers Art Worlds samtKonventioner inom dessa, tillsammans med C. M. Sashis Customer engagement cycle(CEC). Respondenter beskriver bland annat hur de nyttjar sociala medieplattformar, hurde ser på olika verktyg och strategier samt vad de anser vara viktigast för att etablera sigsom självständig artist i dagens digitala musikindustri. Något som framgick frånresultat- och analyskapitlet är att artister som nyttjat direktkommunikation med sinaföljare fått en publik som är mer engagerade i artisten. Under diskussionskapitlet såläses det även mellan raderna där det framgår att bland annat tur och hårt arbete spelaren faktor i självständiga artisters grad av etablering.

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In seeking to create a richer learning environment in a junior high art classroom, the author develops a theory of presence. Closely connected to object-centered learning, a theory of presence in the art classroom places value on students being in the presence of, interacting with, and responding to artworks, artists, and other individuals and objects from the visual arts community. The author then describes how curricular plans are influenced by this theory of presence. Using an action research methodology, the author engages in the spiral process of planning, acting, observing, and reflecting on curriculum that explores the possibilities of connecting students with objects, artifacts, and people that privilege physical interaction and presence. Guest artist visits, utilizing a local art museum, and other methods are explored as possibilities for this to be achieved.

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In this thesis I consider the unique position that Polish artist Zofia Stryjeńska (1891-1974) occupied during the interwar period. Lauded during her time as the most popular artist in Poland, the acceptance of Stryjeńska's female voice in representing a national vocabulary was unprecedented and deserves closer examination. I assert that Poland's history of oppression created a unique environment where women as archetypal figures often took on masculine roles. These 'transgressive types' were visible in the literature and art of the 19th and 20th centuries. Stryjeńska's art, as well as her behavior, capitalized on these transgressive traditions. Women played an important role as visual and ideological figures within the national mythologies of Poland, and while these mythologies situated women as authorities in protecting, cultivating, and renewing the land, and by extension the nation, few women actually achieved the status of shaping them. Zofia Stryjeńska was an example of one who did. At the age of twenty-one Zofia cut her hair, dressed as her brother, and, as a boy, enrolled in the academy of fine art in Munich. This act found precedence in the years of Polish imagery and it ultimately allowed her to create a space for herself and her art. This thesis pays particular attention to Stryjeńska's part in the 1928 renovation of the Warsaw town square. Like many other artists at this time, she worked in many mediums and employed folk-art motifs and styles in the quest to create a truly "Polish" style. Stryjeńska's art drew on national images of Polish women as the Virgin Mary, the good Polish Mother, and Pagan Goddess. Idealized tropes, such as these, often represented a disconnect between everyday social norms and the greater ideals of a national identity. Zofia Stryjeńska embodied this juxtaposition. Her art drew on national images of Polish women filled with blurred gender boundaries. These images, prominent for centuries, at once empowered Polish women while also being relegated safely to the abstract realm of legend and myth. These female ideals, therefore, served as less of a threat to the rigid gender expectations that were a part of everyday Polish life. Zofia Stryjeńska was an example of a woman who laid claim to the female ideals of Polish culture. She used myth to define her behavior; her studies in Munich, and by doing so launched her life into the realm of myth, creating a sensationalized image more legend than reality.

The portrait genre has been one of the most significant in royal and aristocratic homes since the Renaissance. This thesis concerns the portrait collection in the Baroque castle Skokloster, built by the successful count and field marshal Carl Gustaf Wrangel in the 1600s with its unique architecture. The castle houses a significant collection of portrait paintings, some of which date back to the time of its construction, and which constitute a majority of the total number of artworks in the collection. The Swedish noble family, as part of Early Modern court culture, saw their creation of an art collection as vital for fashioning a sense of lineage, respectability, and exercise of power. The thesis asks questions like how the portraits can be understood in relation to the architecture and decorum of the rooms, and how the Swedish Baroque culture and aesthetics are staged in the portraits in relation to court culture and the art collection as a whole. The portrait as a medium is a way for us to remember a deceased historical person but at the same time a way for the sitter to idealize and flatter themselves into an image they desire. Hence a portrait is a union between realism and ideal, documentation and fiction. The portrait has a performative power and acts on behalf of the real person which it depicts. Furthermore, the portrait can give us glimpses of a bygone era of court culture, art patrons, artists, Baroque fashion, court ballets, and festivities.

Following work intends to investigate the revaluation of impressionist Berthe Moriot’s art throughout the years, and what has played a part in both the forgetting and remembering of Morisot. Thus, this master thesis will also explore how the gender of the artist can affect the price development and value of the art, and will therefore compare Morisot to her peers. In addition to contributing to the literature by examining the importance of gender and auction prices, it appears that this study will be the first to examine the sales statistics of Berthe Morisot’s paintings in a comparison with the male impressionists in any depth. The results show that Morisot in comparison with her male peers generally sells less alsters to lower prices. The results also show that Morsiot’s price development has increased more in the last few decades than the impressionistic men, with exception for Claude Monet. Furthermore, the results show that Morisot’s fall and then later rise, is a reflection of the societal views on the female artist, and identified the importance of acknowledgement and visibility of female artists which proved to be an essential determining factor for prices.

This paper explores the processes and outcomes of “The Recipe of Me,” a digital storytelling residency whose goals were to foster autonomy and community among disadvantaged youth aged twelve to fifteen living in the Orlando Union Rescue Mission. Using on-site experience and data, I explore the possibilities and advantages digital storytelling offered the students living in this population and consider the challenges of creating digital stories specific to this site. This case study provides a portrait of the residency which outlines the phases, techniques, tools and approaches used to create the digital stories and empower youth to create using multiple literacies. In doing so, I intend to reveal the ways in which digital storytelling encourages community, autonomy, agency, and artistic voice within youth at Orlando Union Rescue Mission.

This paper presents a robust and artist driven method for fracturing a surface polyhedral mesh via fracture maps. A fracture map is an undirected simple graph with nodes representing positions in UV-space and fracture lines along the surface of a mesh. Fracture maps allow artists to concisely and rapidly define, edit, and apply fracture patterns onto the surface of their mesh. The method projects a fracture map onto a polyhedral surface and splits its triangles accordingly. The polyhedral mesh is then segmented based on fracture lines to produce a set of independent surfaces called fracture components, containing the visible surface of each fractured mesh fragment. Subsequently, we utilize a Voronoi-based approximation of the input polyhedral mesh’s medial axis to derive a hidden surface for each fragment. The result is a new watertight polyhedral mesh representing the full fracture component. Results are aquired after a delay sufficiently brief for interactive design. As the size of the input mesh increases, the computation time has shown to grow linearly. A large mesh of 41,000 triangles requires approximately 3.4 seconds to perform a complete fracture of a complex pattern. For a wide variety of practices, the resulting fractures allows users to provide realistic feedback upon the application of extraneous forces.

Väven grundar sig i nyfikenheten för vad som sker i konstnärernas ateljéer och utforskandet i hur ett rum som ofta upplevs som slutet kan vävas samman med aktiviteten i ett hus för folket.  Projektet är placerat söder om Ösmo i Nynäshamns kommun och innefattar ett konsthantverkscentrum där konstnärer får utrymme att producera, leva och lära i samverkan med publika rum och husets besökare. I programmet ryms  konstnärsbostäder för de 12 residerade konstnärerna och deras familjer, verkstäder inom keramik, textil, glas, metall, trä samt två skrivarstugor. Verkstäderna är ständigt närvarande i gestaltningen och har utformats för att låta besökare ta del av konstnärernas arbete, både visuellt och aktivt genom utbildningslokaler, galleri och butik. Syftet med projektet Väven är därmed att undersöka hur ett konsthantverkscentrum som både är utformat för utövarna och besökarna kan se ut samt hur konsten via projekt som dessa kan nå nya grupper och skapa mervärde till en plats. / The project aims to investigate how a house for culture, with a focus on arts and crafts, can be combined and integrated with a house for the people, and to explore how art and culture can reach new groups in smaller cities through projects like this.