A biographical sketch of artist John B. Fairbanks, this thesis primarily probes Fairbanks' evolution as an artist. From amateur, to art missionary, to professional artist, Fairbanks influenced his cultural surroundings in Utah and in The Church of Jesus Christ of Latter-day Saints. His commitment to his career and his impact on others significantly affected Utah and Mormon art. Thus it is important to understand and recognize the full portrait of John B. Fairbanks.John B. Fairbanks, born on 27 December 1855, developed an interest in art while still young. Until reaching the age of thirty-four, he often worked as an amateur artist, eager to one day receive professional training. Although a difficult career path to follow, he maintained his focus on art and hoped for future opportunities in this field.In 1890, Fairbanks learned that he, along with artists John Hafen and Lorus Pratt, and later Edwin Evans and Herman Haag, would be subsidized by The Church of Jesus Christ of Latter-day Saints to study art at the Académie Julian in Paris, France, in order to prepare them to paint murals in the Salt Lake Temple. As an art missionary, Fairbanks developed a more complete understanding of art and embraced the process of becoming an artist.Upon returning to Utah from Paris, Fairbanks helped paint murals in the Salt Lake Temple. Following this unique privilege, he worked as a professional artist. During this phase of his life, he had the opportunity to teach various students, most importantly, his sons J. Leo and Avard. In addition, Fairbanks created several substantial works and helped influence the cultural environment of the Church and the state of Utah.

The purpose of this thesis is to develop understanding about: in what ways Swedish music artists become leaders for their followers from theories of Educational/Pedagogical Leadership; Music Artists’ perceptions of leadership and influence in a music-artist-follower-context; And the preconditions, opportunities and needs of learning on this topic amongst music artists. The background of this research is the importance of understanding these aspects in a rapidly developing society, where music artists are gaining more prominent roles and influence. Music artists, as a part of the celebrity- and influencer body, are since long recognized to have important influence over many areas of followers’/fans’ lives. Music industry research indicates that due to the digital development, individual music artists are reinforcing and increasing their influence over followers which to some extent are exploited and monetized. Parallell with this, Swedish music artists are considered by practitioners and researchers not to have any obligations, responsibilities nor leadership roles regarding their influence over their followers due to democratic values and artistic freedom. The understanding and theorizing of leadership is developing in new directions. Yet no holistic, interdisciplinary leadership research that analyzes music artists as leaders towards their followers, based on influence has yet been conducted. Therefore the understanding of in what ways music artists can be considered leaders towards their followers, and the content of this leadership is limited. The purpose of this thesis is researched through qualitative, semi-structured group interviews and one individual interview with a total of seven music artists, based on the following research questions: In what ways do music artists in Sweden become leaders for their followers from theories of pedagogical leadership?; What perceptions do music artists have regarding leadership and influence from a music artist- follower-perspective?; What are the conditions, opportunities and needs for music artists to learn about this leadership towards their followers? The theoretical foundations and framework for this research is Methodological Individualism, Parasocial Relations Theory (PSR), Andersson et. al’s theoretical construct of Attributed, Informal Leadership and a theoretical framework constructed by different aspects within research of pedagogiskt ledarskap (Educational/Pedagogical Leadership). The inherent components in this framework are Practical Responsibilities; Leading in Fostering; Leading Through Relationships; Ethics and Morale; Leading Learning, Knowledge and Instruction; Personality and Characteristics; Collegial Learning and Learning Organization. Analysis and conclusion shows that music artists become leaders towards followers in many regards: They have practical responsibilities generating a leadership position towards followers, effecting leadership outwork and development; Lead by being role models, reproducing values, norms and characteristics; Influence and create exchange with followers through actual and perceived relationships; Practice ethical and moral aspects towards followers; Create conditions for- and lead processes of learning, knowledge- and meaning creation in followers; Shape artistry and practice influence from personality and characteristics; Practice collegial and organizational learning. Degree, effectiveness, practice, characteristics, perceptions and opinions of these leadership aspects vary greatly between artists and category. Swedish music artists perceive leadership and influence towards followers as role-model-ship, inspiration and encouragement, practical responsibility, authenticity and interaction. Regarding influence they show many nuances and variety in perceptions. Informants suggests that music artists don’t have leadership responsibilities towards society, but conclude that music artists possess undefined societal roles with potential significant societal influence. Music artists participate in learning initiatives but workload, isolation and financial aspects hinders learning. Forums for dialogue and reflection are missing.

<p dir="ltr">With a particular focus on her twelve years of partnership with Ulay, the life and work of performance artist Marina Abramović are taken as ekphrastic subjects in a research-based poetics reflecting the author’s understandings of art, love and belonging. In dynamic movements of literary form throughout the manuscript, <i>Nude Imperative</i> makes a restless inquiry into the meaning of embodiment as a person in language, desire, and diaspora, the nature of relation between this individual self and the intimate other, and the limits of these human connections; the limits of love.</p>

The purpose of this essay is to investigate The Woman with the Puppets by Isobel Gloag from a feminist perspective, to find how it challenge the male gaze and patriarchy. I also seek to understand how other female artists past and present compare to Gloag’s painting. The method is Panofsky’s iconology with modifications through Aavitsland’s thoughts of the grammatical structure that the composition holds. To reach social bearings upon the ability to generate this type of historical genre painting Bourdieu’s toolbox of capital, habitus and strategies has been applied. The painting is a feminist expression of the feminist discussions regarding marriage, equality and law that took place at the time of the paintings creation. Through the use of established norm with an ambiguity, female nude and male marionette puppets, the male gaze and patriarchy is challenged. Gloag is the only female artist of her time that has generated a history genre painting in a feminist spirit that challenges multitude of issues in one composition.

For decades authenticity has been of great interest in media and communication research. With this study, we aim to contribute to the research with a new perspective where authenticity is examined in artists who use influencer marketing on social media. With two qualitative focus group interviews, we examine how two previously separate professional roles, influencer and artist, now merge in their interests and strategies to influence their audience via social media platforms. By analyzing and interpreting young Swedish women’s experiences of artists’ advertising collaborations, we seek to understand the concept of authenticity's influence, power and meaning in the digital era. This is done using the three theories: influencer marketing, social capital and branding. The results confirm the dynamic role of the concept of authenticity in society and that whether something or someone is authentic is situational. The concept of authenticity is perceived as important in some contexts and less important in others. There is a clear tolerance for inauthentic behavior within the artist community. However, there is also a perceived limit to how much advertising through influencer marketing an artist can do before it has a negative impact on the artist’s perceived authenticity. The most significant factor is the artist's choice of brand to collaborate with. Our conclusions also show that there is an awareness of the intertwining of the two professional roles and a feeling that most artists and influencers are in a “gray area” where the boundaries between the roles are blurred. This means that new relationships and patterns of cooperation between artists and companies are created, and the dynamics of both the entertainment and advertising industry is changing.

No description available.

No description available.

No description available.

No description available.

No description available.