Creative Labors: The Lives and Careers of Women Artists

Brooks, Geraldine Susan; Daniluk, Judith C.

doi:10.1002/j.2161-0045.1998.tb00699.x

Cited by 20 publications

(22 citation statements)

References 29 publications

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“…Literature on gender and workplaces finds that managers overlook rudeness, aggression, and poor social graces from high-performing men while requiring women to be nicer in order to wield inf luence and authority (Eagly et al 1992;Kanter 1977;Ridgeway 2001). Artists' biographies and artistic works suggest similar dynamics (Brooks and Daniluk 1998). Midler (1980) shows that George Eliot's female artist-heroes continually confront the fact that ego and temper in the pursuit of greatness are expected of men, but surprising in women, and reads this as an expression of frustrations that Eliot herself experienced.…”

Section: Masculinity and Creative Geniusmentioning

confidence: 99%

“…Women are underrepresented as both practicing artists and canonical figures in most genres of art, music, and literature (Bielby ; Cowen ; Parker and Pollock [1981]; Piitro ; Tuchman and Fortin ). Women artists and musicians experience difficulty obtaining paid work (Bielby and Bielby ; Goldin and Rouse ), earn less on average than men (Menger ), and sometimes experience overt discrimination (Bielby and Bielby ; Brooks and Daniluk ; Leonard ). Judgments of aesthetic quality by critics, peers, audiences, and support workers systematically devalue women (Leonard ; Millar ; Pheterson et al ; Stokes ), and life histories of accomplished women artists reveal steep personal and emotional costs of struggling to succeed in male‐dominated artistic fields (Kosmala ; Midler ).…”

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confidence: 99%

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Gender and the Artist Archetype: Understanding Gender Inequality in Artistic Careers

Miller

2016

Sociology Compass

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Women artists are systematically disadvantaged across cultural fields. Although some of these disadvantages resemble gender inequalities in non‐artistic work, such as lower pay, underrepresentation, work–family conflict, and symbolic devaluation, others are unique to artistic careers. In this essay, I extend Acker's work on the implicit gendering of the ideal‐typical worker to show how gender implicitly organizes social expectations around artists and artistic work. I highlight themes emerging from past research on gender relations in artistic careers, which suggest that the ideal‐typical artist builds on a masculine model in at least three ways. First, collective understandings of creative genius center a masculine subject. Second, bias in aesthetic evaluations systematically favors men over women. Third, the structure of artistic careers, particularly the need for entrepreneurial labor and self‐promotion, requires artists to engage in behaviors that are more socially acceptable in men than in women.

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Section: Masculinity and Creative Geniusmentioning

confidence: 99%

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confidence: 99%

Gender and the Artist Archetype: Understanding Gender Inequality in Artistic Careers

Miller

2016

Sociology Compass

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“…Research consistently shows that parents are extremely influential in helping determine their child's career aspirations, goals and plans (Li & Kerpelman 2007); it is plausible, therefore, that they are more knowledgeable when speaking about their own careers and/or supportive of their child exploring a design pathway. Given that Brooks & Daniluk (1998) found their female artists often described being obstructed in their career choice by the attitudes and behaviours of family members, it is plausible that families with limited exposure and knowledge of design careers might implicitly and/or explicitly discourage their daughters from pursuing a design career path. As this is the first study to explore the motivations of female design students, much more research is needed to address such questions.…”

Section: Discussionmentioning

confidence: 99%

Destined to Design? How and Why Australian Women Choose to Study Industrial Design

Lockhart¹,

Miller²

2016

Int J Art Design Ed

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Despite over three decades of legislation and initiatives designed to tackle the traditional gender divide in the science, technology and design fields, only a quarter of the registered architects in Australia are women. There are no statistics available for other design disciplines, with little known about why women choose design as a career path and who or what influences this decision. This qualitative research addresses this knowledge gap, through semistructured in-depth interviews conducted with 19 Australian women who completed an industrial (product) design degree. Thematic analysis revealed three key themes: childhood aptitude and exposure; significant experiences and people; and design as a serendipitous choice. The findings emphasise the importance of early exposure to design as a potential career choice, highlighting the critical role played by parents, teachers, professionals and social networks. KEYWORDS industrial design, design education, womenDesign (the adaptive creative process of creating an object or process) and design thinking (adopting a creative approach to problem solving) have been identified as providing the innovative interdisciplinary framework needed to tackle key twenty-first century challenges, such as population ageing and climate change (Brown 2008). Yet, despite the current attention emphasising the value of design, one issue remains under-studied: women are poorly represented in many design professions in particular with industrial design remaining a male-dominated field. This qualitative study seeks to address this knowledge gap, investigating why women choose design as a career path and who or what influences this decision.Although there is significant anecdotal reporting suggesting a gender disparity, particularly in terms of women's representation and visibility in high-profile design awards and senior leadership roles (Anthony 2001;Fowler & Wilson 2004), exact statistics on women's participation remain scarce, dated and fragmented. At university, enrolment statistics show that women typically comprise approximately a third to half of the design student population; upon graduation, however, they appear to be much less visible in the profession, in terms of winning local, state or national design awards and holding senior roles. This gender distinction in terms of career progression and visibility is apparent through the architecture

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“…People develop their identities by evaluating the responses and perceptions of others (Stets & Burke, 2000). For example, Brooks and Daniluk (1998) found that visual artists look to their peers for recognition, acceptance, and support and when these were experienced, the artists felt more comfortable and satisfied with their creative work. Of course, some exceptions find fulfillment in their own understandings, such as a writer in Day's (2002, p. 133) research who remarked: "I don't need other people's validation.…”

Section: Literature Reviewmentioning

confidence: 99%

Drama at Disney: A Thematic Analysis of Creative Worker Identity Negotiation and Identification in the Documentary Waking Sleeping Beauty

Nairn¹,

Matthews²

2020

ijmcf

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Work in creative organizations is often completed under intense working conditions. Due to the nature of the industry sector, creative workers must manage and deal with a range of factors related to their daily activities. These include multiple projects, tight deadlines and shifting schedules, to produce creative outputs that may have limited success in the marketplace. Despite the intensity of the work, the drive to create sets up conditions where creatives will self-exploit to meet work demands due to strong intrinsic motivations. This behaviour can leave creative workers susceptible to exploitation by employers because they offer a space for creative people to get resources and projects that meet these powerful intrinsic needs. To that end, creative people come to negotiate who they are within the constraints imposed by the work they do, and for this reason, we sought to thematically analyze the documentary Waking Sleeping Beauty (Hahn, 2009) to consider the intentional and unintentional construction of creative worker identity. We found that the identities of creatives could be categorized according to four themes: Creatives as passionate and/or exploited; Creatives as transformational, Creatives as subordinates, and Creatives as resistors. These themes revealed how animators negotiated their identities at a time when Disney Animation was experiencing several upheavals and suggested that identification with Disney could have both advantages and disadvantages for creative workers. The broader consideration from the themes alludes to a need to consider how to best provide for the creative worker while still capitalizing on the business needs of the creative economy.

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Creative Labors: The Lives and Careers of Women Artists

Cited by 20 publications

References 29 publications

Gender and the Artist Archetype: Understanding Gender Inequality in Artistic Careers

Gender and the Artist Archetype: Understanding Gender Inequality in Artistic Careers

Destined to Design? How and Why Australian Women Choose to Study Industrial Design

Drama at Disney: A Thematic Analysis of Creative Worker Identity Negotiation and Identification in the Documentary Waking Sleeping Beauty

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