Artist at Work. Proximity or Art and Capitalism

Assche, Annelies Van

doi:10.21825/doc.v34i1.16381

Cited by 5 publications

(6 citation statements)

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“…Thus, the social and material conditions of artistic work shed light on the above issues, associated with contexts of precarity and structural vulnerability, where difficulties obtaining a remuneration, the need to work multiple jobs, high levels of overwork, instability, and informality configure dimensions that are not solely objective but which articulate subjective aspects of the artist as a worker (Cobos & Retamal, 2022;Kunst, 2015;Mauro, 2020;Pinochet Cobos & Tobar Tapia, 2021;Prior, 2018;Zendel, 2021); in this context, for example, productivity and selfexploitation play a key role in the construction of artists' subjectivities.…”

Section: The Evolution Of Music As Viewedmentioning

confidence: 99%

Creating on the brink of the abyss: Toward an understanding of subjective experience in artistic work.

Toval-Gajardo¹,

Larraín²,

Roy³

2023

Journal of Theoretical and Philosophical Psychology

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With the progress of new technologies, a democratization of culture has expanded music-making. This has led many music artists to work independently, recording, producing, and managing their music from their own homes. In parallel, researchers have recently documented the vulnerability and structural precariousness of the music world: The work of musicians is informal, unregulated, and lacks the basic elements for sustaining a livelihood. Music psychology has not paid attention to these material conditions of production, focusing instead on the study of pleasure and well-being. Furthermore, work and organizational psychology research has devoted little attention to the musical and artistic fields. This article is aimed at theoretically exploring the subjective experience of artistic work, seeking to account for what drives artists to persist in their creative efforts despite the precarity. It is argued that music does not emerge as an individual and rational choice: music as art envelops and traps, keeping those who work on it on the brink of an abyss, without letting them go, because they fulfill a key social function that cannot be wholly incorporated into society’s productive structure. Artistic work can be sustained by means of effective social bonds for the production and transformation of life. Bearing all this in mind, this article makes it possible to articulate different research traditions that have so far developed in isolation.

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Section: The Evolution Of Music As Viewedmentioning

confidence: 99%

Creating on the brink of the abyss: Toward an understanding of subjective experience in artistic work.

Toval-Gajardo¹,

Larraín²,

Roy³

2023

Journal of Theoretical and Philosophical Psychology

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“…One might argue that artists are not dependent on institutions and public bodies. This may just be an unacknowledged capitulation to industrial and neoliberal systems (KUNST, 2014). Many artists elect to work outside institutional and policy structures.…”

Section: The Economy (And De-economisation) Of Artistsmentioning

confidence: 99%

The Devaluation of the artist

FitzGibbon

2022

Journal of Cultural Management and Cultural Policy / Zeitschrift Für Kulturmanagement Und Kulturpolitik

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Much has been written about artists’ precarity and dependency on institutions. Precarity is a de-economisation of freelance artists and ‘asymmetry’ on which cultural economy and arts policy relies. Speculation early in 2020 was that Covid-19 drew attention to the unethicality of these relationships but what has changed? Here, pre-pandemic and rapid response research on UK freelance theatre artists are brought together to suggest that the #CultureReset has been little more than a resetting of the stage with all props and players returning to previous positions. Pre-pandemic, the separation of artists from the language, policymaking, business and decision-making of professional subsidised theatre represented an unethical rationality. Covid-19 interrupted and transformed all cultural activity with a disproportionate impact on freelance artists, particularly in performing arts. Yet during 2020 and 2021, previous value systems (the rationality of the field) were maintained. Early hopes for improved conditions diminish as institutions and governments restore previous behaviours, counter to the ‘new normal’ advocated. A global crisis could not change the ‘value problem’ of artists in the arts. Moreover, pity procured for artists during the pandemic has further infantilised and devalued them. These findings call for greater scrutiny of the ethics of arts management and policy and new more collaborative approaches to solving the value problem.

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“…A growing body of research in creative work studies shows instead how the figure of the autonomous artist comes to present a role model for flexible and self-reliant employment under neoliberal capitalism (Banks et al, 2013;Boltanski and Chiapello, 2005;de Peuter, 2014). Cases occupy diverse domains such as classical and popular music (Coulson, 2012;Haynes and Marshall, 2018;Scharff, 2017;Scott, 2012); media work in journalism, film and television, marketing, PR and advertising (Gill, 2002;Gill and Pratt, 2008;Hesmondhalgh and Baker, 2011;O'Brien, 2019;Rosenkranz, 2016); social media (Duffy and Hund, 2015;Naudin and Patel, 2019;Nieborg et al, 2020); fashion design (McRobbie, 1998); craft (Luckman and Andrew, 2020;Naudin and Patel, 2020); and performance or installation art (Harvie, 2013;Kunst, 2015). This research highlights the precariousness of creative careers across a spectrum of fine arts and commercially driven creative industries (Galloway and Dunlop, 2007;Hesmondhalgh, 2019;O'Connor, 2010).…”

Section: Cultural Entrepreneurs As Heroes Struggling Graduates or Ama...mentioning

confidence: 99%

Mermaids as market creators: Cultural entrepreneurship in an emerging practice

Strandvad

Davis²,

Dunn

2021

International Journal of Cultural Studies

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With the example of the emergence of professional mermaids, this article shows how primarily young, female enterprising performers developed a new aesthetic category, generated employment from it, and in that way created a market for their services and products. To conceptualize this development, the article employs the Callonian program in market studies into research on cultural entrepreneurship, highlighting that markets are constantly in-the-making and innovation processes cannot be ascribed to the activities of singular “hero figures.” This adds to the existing literature on cultural entrepreneurship by calling attention to collective entrepreneurial practices taking place on the fringes of the cultural sector.

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Artist at Work. Proximity or Art and Capitalism

Cited by 5 publications

References 0 publications

Creating on the brink of the abyss: Toward an understanding of subjective experience in artistic work.

Creating on the brink of the abyss: Toward an understanding of subjective experience in artistic work.

The Devaluation of the artist

Mermaids as market creators: Cultural entrepreneurship in an emerging practice

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