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The aim of this dissertation is to explore and understand three important social contexts for the becoming of an artistic subjectivity: education, work and family life. The empirical data consist of interview material with alumni from the Royal Institute of Art in Stockholm, staff of the institute, and a survey material from the Swedish National Artists Organization (KRO/KIF). Generally, the thesis employs a theory of conflicting understandings of labour as well as the importance of discourses and narratives for the formation of subjects. The contribution of the thesis is the analysis of a continuing conflict between being and working as an artist actualized in the social contexts explored. The arts education encouraged a romanticized understanding of art as unrelated to market value, which clashed against societal norms of career progression, survival and supporting a family. This conflict informed the subjective way in which the respondents related to their activities as artists, workers and relatives. The concept of freedom can be understood as mediating this conflict in the sense of forming the basis of attraction to the arts but also a burden as it relates to insecurity. The analysis found several subjective representations of the artist that indicate strong norms of individuality and self-direction, understood as the outcome of a working life fraught with personal responsibility for coping with insecurity. As such, the thesis is part of ongoing research on changes in working life towards non-standard and sometimes precarious working conditions. / Syftet med avhandlingen är att undersöka och förstå tre betydelsefulla sociala kontexter för konstruktionen av en konstnärlig identitet: utbildning, arbete och familj. Avhandlingens material består av intervjuer med alumner från Kungl. Konsthögskolan i Stockholm, undervisande personal på skolan, samt ett enkätmaterial från Konstnärernas riksorganisation KRO/KIF. Teoretiskt utgår avhandlingen från olika forskningsperspektiv på arbete samt diskursiv och narrativ konstruktion av subjektivitet. Avhandlingen påvisar en kontinuerlig konflikt mellan att vara eller att arbeta som konstnär. Den konstnärliga utbildningen positionerar konsten enligt romantisk tradition i motsättning till marknadslogik vilket efter utbildningen skapar en konflikt för konstnären som måste förhålla sig till normer av karriär, överlevnad av arbete och försörjning av familj. Denna konflikt påverkar hur konstnärerna subjektivt förhåller sig till sin konstnärliga aktivitet, totaliteten av sitt arbete och sin roll som anhöriga. Frihetsbegreppet kan förstås relatera till denna konflikt dels genom att utgöra en attraktion till konsten, dels genom att relatera till osäkerhet. I analysen framträdde flera konstnärliga subjektspositioner vilka alla indikerar starka normer av individualism och självtillräcklighet. Dessa kan relateras till ett arbetsliv karaktäriserat av eget ansvar för att hantera osäkerhet. Avhandlingen är därför del i en pågående forskning kring ett arbetsliv i förändring mot atypiska och även mer prekära arbetsförhållanden.

The Asian American population is one of the fastest growing racial groups within the United States, and will soon become a significant proportion of the nations' work force (Census, 2008). It is important for counselors and other helping professional to better understand the needs of this population in order to better prepare them for the nation's workforce. Given the limitations of the current knowledge pertaining to Asian American career development, researchers have called for additional studies examining the career development process for Asian Americans (Flores et al., 2006; Leong & Serifica, 1995). A notable gap in today's Asian American vocational literature is on the career development process for those who pursue underrepresented occupations, such as work in the humanities and arts. Researchers have noted that Asian American vocational research has predominantly focused on occupations in which there are more representation, such as Investigative or Enterprising fields (Escueta & O'brien, 1991), the unique career concerns of specific ethnic groups (Kim, 1993; Yang, 1991), familial involvement in career (Tang, Fouad, & Smith, 2004), or provides a broad conceptualization of career development of Asian Americans (Leong, 1986; Leong, 1991). However, there are no studies that examine the intersection of gender, race, and nontraditional career choices for Asian American women. This is especially true for occupational field that is often ignored in vocational research, such as the Artistic field (Ng, Lee, & Pack, 2007). Little is known regarding the why and how Asian American women choose to go into a field that is nontraditional and in which they are underrepresented. Further examination of this will allow helping professionals to gain a better understand the challenges and resiliency factors that influence Asian American women, especially those who choose to enter difficult field often not well regarded as an ideal career by family or society. The purpose of this study was to investigate the following questions: (1) What are unique aspects of the career development of early career Asian American female visual artists, (2) how do contextual factors in Asian American female visual artists' career development impact both their psychological and vocational well-being, and (3) what are the major supports and barriers for Asian Americans females in pursuing an Artistic career? Utilizing Consensual Qualitative Research (CQR) methodology (Hill, Thompson, & Williams, 1997), Asian American female early career visual artists were recruited, identified, and screened nationally through an online survey. Twelve East (n=10) and Southeast (n=2) Asian American female visual artists between the ages of 21 - 35 were interviewed utilizing a semi-structured interview protocol. Eight domains emerged from the analysis of the results: 1) Description of career path into the visual arts, (4) Ecological factors impacting overall career, (5) Financial influences on the career development, (6) Perceived additional skills and resources needed for career, (2) Influences on art work and artist identity, (3) Individual strengths contributing to career development, (7) Influences of support on career development, (8) Perceived barriers to career development. A detailed summary of these results, implications of these findings and recommendations for clinical work and future research will be provided.

Racialization, Representation, and Resistance: Black Visual Artists and the Production of Alterity queries the relationship between Black visual representation and Black social and cultural politics. For the past two centuries Black visual artists throughout the African Diaspora have painted, sculpted, and filmed images of blackness inspired, funded, and otherwise supported by progressive patrons and institutions. Largely produced outside of mainstream art worlds, these visual representations focused on Black social and cultural politics and Black alterity more than mainstream tastes or stereotypes. As the coherence of Black social and political movements and resources declined in the late twentieth century, however, commercialization and the mainstream art world had increasing influence on Black visual culture. These changes created intense resistance and debate about the politics of visual representation throughout the Black Atlantic, particularly in the United States, Cuba, and the United Kingdom. Ethnographic observations, interviews, and gallery talks with artists in these three nations, including John Yancey, Vicky Meek, Marcus Akinlana, Kara Walker, Michael Ray Charles, Gloria Rolando, Anissa Cockings, and Andrew Sinclair, along with cultural and historical comparisons, provide fresh insight into the relationship between Black visual representation and contemporary Black social and cultural politics. / text

Abstract of Making Their Way—Making Art and Making Money: The working lives of visual artists with disabilities Susan Agatha Maley People with disabilities have marked lower rates of employment than people without disabilities in both Australia and the United States, the countries chosen for this research inquiry. That this is the case decades after the introduction of anti-discrimination laws in these developed democratic countries highlights the continuum of constraints people with disabilities still experience in securing work. Some of these constraints include socially discriminatory attitudes and perceptions, the lack of available accommodations and adaptations in work settings (and the misconception that they will be onerous and expensive to implement), lack of accessible transportation, the unavailability of work within established job markets and the restrictions of vocational rehabilitation and disability employment programs’ past focus on existing jobs in organisational settings. These constraints have a negative impact on the overall quality of life for many people with disabilities as employment is a key component to individual self-sufficiency and personal fulfilment and also crucial to inclusion in community and social settings. Among the notable initiatives to address these persistent inequities are research-informed projects focusing on self-employment as a viable alternative mode of employment to the established job market. Within the last decade, myriad research reports, model demonstration projects, and a US national research program, funded by the Office of Disability Employment Policy, have been demonstrating the success of self-employment in expanding self-determined income generation. Within this burgeoning and productive investigation on self-employment, one gap is that there has been little focused inquiry on creative work. Such a void is significant since the predominant work mode among visual artists is self-employment, albeit sometimes supplemented with other arts, and non-arts related work. This study addresses the lack of investigation of artists’ modes of work by examining the working lives of practicing professional visual artists with a range of significant physical, sensory and neurological disabilities. There are a number of reasons for this research study’s focus on the area of visual arts. Visual arts has been documented to be one of the largest groups among artistic disciplines in studies in both Australia and the US, as well as European countries. Within this sizable arts arena, there are established and emerging markets for sale of visual arts products. This discipline can also offer flexible work locations, hours and adaptations in art making. Thus, there may be numerous benefits to pursuing careers in the visual arts for creative people with disabilities. Yet, little is known about the lived work experience of practicing visual artists with disabilities and their career strategies. Thus, an exploration of visual artists with disabilities working in a range of mediums such as this research study can reveal new, and potentially useful, knowledge about their methods of art-making and marketing, adaptations in the design and execution of their work, their experiences of disability and the facilitators and obstacles they face when preparing for and pursuing their working lives as artists. This research study is based on the results of in-depth, face-to-face interviews of twenty-one visual artists, eleven in Australia and ten in the US, who used multiple artistic mediums. The conceptual lens for the analysis is intersectionality with an underlying critical realism foundation. These theories were used to explore the intersecting social positions of being a person with a disability and a practicing artist and the related interplay of agency and structure in shaping the careers of these artists. The main findings from this research focus on how the artists in this study made their way, made art and made money. These findings commence with an examination of the early shaping and continued sustaining influences in their artistic development and education. It continues with an exploration of the influence of their disability experiences on making art including their adaptive methods and conceptual process. The analysis continues with a focus on factors involving their means of making money, marketing and self-promotion methods and professional progressions. The findings conclude with an analysis of aids and obstacles these artists with disabilities experienced during interactions with a range of organisations including disability employment and vocational rehabilitation counselling and financial support agencies, arts educational institutions, art galleries and arts and disability agencies. Highlights of the findings are that the majority of the artists in the study earned their income from arts and arts related work, that they made active use of their own personal and collective agency to meet their artistic and professional goals and that their actions influenced structural change. They also positioned aspects of their social and personal identity to best suit their career progressions and some made artistic use of their conceptions of disability with innovative impact on social conceptions of disability. Implications of these findings are that artists experiencing disability developed strategic skills to negotiate difficult terrain while forging an income-producing arts practice. In addition, their creation of new options for themselves, and other artists with disabilities, has wider implications for improving equity for artists with disabilities.

Cette thèse s'attache aux rapports au politique des artistes visuels yéménites dans un contexte de domination, recouvrant trois États (les deux républiques qui précédent l'unification du Yémen et la république actuelle créée en 1990, jusqu'en 2015). En étudiant la domination en acte à travers une démarche ethnographique, ce travail interroge les conditions de production et d'action des artistes en soutien ou en contestation au régime, comme au cours du moment révolutionnaire de 2011. On observe ainsi le processus de politisation des mondes de l'art au Yémen contemporain, processus compris en tant qu'acquisition d'une signification politique par la pratique artistique et par les réseaux de relations entretenus par les artistes visuels. Ces requalifications de leur travail ou de leur pratique se font dans un contexte traversé par des luttes concurrentielles pour la répartition du pouvoir internes et propres à leurs mondes d'activité, mais aussi externes et propres à l'espace politique institutionnel. La politisation des mondes de l'art apparaît dès lors moins comme un instrument d'accès à cet espace qu'une voie pour accéder à plus de visibilité, à la reconnaissance, et à un meilleur positionnement dans les rapports agonistiques qui configurent ces mondes. / This thesis focuses on the study of Yemeni visual artists' relation to politics in a context of domination, covering three States (the two republics that precede Yemen's unification and the current republic established in 1990, until 2015). Studying domination in action through an ethnographic approach, this work questions artists' conditions of production and of action in support to or in contestation of the regime- as in the case of the revolutionary period of 2011. The focus of this study is the politicization of art worlds in contemporary Yemen, a process understood as the acquisition of a political significance as observed in the artistic practice and in the dynamic networks that artists maintain. The requalification and reclassification of their work and their practice that results from the politicization of art worlds, takes place in a context of competitive struggles over distribution and access to sites of power. Such conflict over power occurs within their own worlds of activity as well as outside them and in relation to the domain of institutional politics. This thesis contends that the politicization of art worlds is more of a means to access visibility and recognition than a resource to participate in the political field. Through the politicization of art, artists are able to better position themselves within the agonistic relations that exist within art worlds.

Made available in DSpace on 2016-12-08T16:18:49Z (GMT). No. of bitstreams: 1 CledianeLourenco.pdf: 9901737 bytes, checksum: 43c5c8840bf8582161a894a0d10801e4 (MD5) Previous issue date: 2012-08-03 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research presents a study about the work of some artists from Paraná: Helena Wong, Leonor Botteri, Mazé Mendes, Nego Miranda e Miguel Bakun, seeking to unveil the influence that the city of Curitiba has provoked into these works, as well as the relationship with other artists from distinct time and space, comparing the works of arts and creating links which perhaps are capable of providing a new possibility of interpretation. This study also builds a collection of concepts that not only reveals the pictorial issues implicit in the works, but their ideologies and the essence of the city through the eyes of a reader that seeks a method based on his sensations, feelings, perceptions and uncertainties. Among the main concepts that base the research is the anachronism, in Didi-Huberman; Happening, Diference and Repetition of Gilles Deleuze. It was also turned to the formulations about the Comparative Method exposed by Jorge Coli and the Image Analysis Method from Yve-Alain Bois. The notion of foud appears because each artist creates spaces that involve other spaces, which configure the interstices, fold and unfold continuously. The city of Curitiba, in turn, appears as a mediating element that approaches artists and multiplicities. The artist positions himself as someone who gives meaning to things from the inner them and illuminates what previously remained hidden and invisible. From this it is possible to understand that the relationship of each artist with the city of Curitiba follows this line look "outside", in other words perception of the city exceeds the limit of thought that goes until where the language covers / Esta pesquisa apresenta estudo sobre a obra dos artistas paranaenses: Helena Wong, Leonor Botteri, Mazé Mendes, Nego Miranda e Miguel Bakun, procurando desvelar a influência que a cidade de Curitiba gerou nesses trabalhos, bem como relações com outros artistas de tempo e espaço distintos, comparando as obras e criando elos que talvez sejam capazes de proporcionar novas possibilidades interpretativas. Esse estudo apresenta também um conjunto de conceitos que buscam revelar as questões pictóricas implícitas nas obras, suas ideologias e a essência da cidade na ótica de um leitor que procura um método baseado nas sensações, sentimentos, percepções e indefinições. Entre os principais conceitos que dão corpo à pesquisa está o anacronismo, em Didi-Huberman; Acontecimento, Diferença e Repetição de Gilles Deleuze. Ainda recorre-se às formulações sobre o Método Comparativo exposto por Jorge Coli e o Método de Análise de imagem de Yve-Alain Bois. A noção de dobra aparece porque cada artista gera espaços que envolvem outros espaços, que configuram interstícios, dobram-se e desdobram-se continuamente. A cidade de Curitiba, por sua vez, surge como um elemento mediador que aproxima multiplicidades e artistas. O artista se coloca como alguém que dá sentido as coisas a partir do interior delas e ilumina o que antes permanecia escondido e invisível. A partir disso, é possível entender que a relação de cada artista com a cidade de Curitiba segue essa linha do olhar de fora , ou seja, a percepção da cidade ultrapassa o limite do pensamento que vai até onde a linguagem abarca

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This academic report was composed at the conclusion of a 480 hour internship with the National Performance Network/Visual Artists Network (NPN/VAN), summarized in Chapter Two. This report includes NPN/VAN’s mission, history, and organizational structure within Chapter One. Chapter Three is a SWOT analysis, and Chapter Four includes a summary of best practices, highlighting NPN/VAN’s intermediary and network structure. In conclusion, a series of suggestions are offered for further consideration.

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