The artistic precariat

Bain, Alison L.; McLean, Heather

doi:10.1093/cjres/rss020

Cited by 95 publications

(68 citation statements)

References 26 publications

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“…It is typical that the most determining is the economic, cultural and relational capital; in other words, territorial capital is accumulated in those sub-regions even during the crisis where the background conditions of cultural economy exist and prevail (Colombo et al, 2011). Cultural economy means that cultural institutions and the cultural industrial sector of the region are actively utilized, socioeconomic interactions thicken and these are embedded in regional economic processes, which finally define regional development (Bain-McLean, 2013;Donald et al, 2013). The partial effect of human capital is relatively large; the partial effect of institutional capital is smaller than the national average, that is to say the territorial capital structure of the sub-regions will be so stable with the revaluation of knowledge and the network proximity becoming closer that it could grow even during the crisis (Faludi, 2014).…”

Section: The Structure Of Territorial Capital In Sub-regionsmentioning

confidence: 99%

Determinants of Hungarian Sub-Regions’ Territorial Capital

Jóna

2015

ESR&P

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Section: The Structure Of Territorial Capital In Sub-regionsmentioning

confidence: 99%

Determinants of Hungarian Sub-Regions’ Territorial Capital

Jóna

2015

ESR&P

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“…Uncertain labour may fall mainly to low-skill and low-wage workers (Branch and Hanley 2011), but it is also associated with other categories of insecure workers of varying skill-levels, such as skilled Susan Banki Paper presented at the Power and Justice in the Contemporary World Conference 9 August 2013, New York, NY 6 'permatemps' in the food industry (Elcioglu 2010) and artists (Bain and McLean 2013). This is why Standing has referred to the precariat as a 'class in the making' (Standing 2011).…”

Section: Why Precarity?mentioning

confidence: 99%

“…Further, Legal Aid Centres in Vietnam have recognized the importance of such networks and are now seeking to deliver legal information through these networks (Arnold 2013). Bain and McLean point to artists' collective social spaces in Canada to respond to marginalization and insecurity (Bain and McLean 2013). Similarly, one of migrants' greatest protection against removal and detention is the knowledge and assistance of informal community networks (Banki 2006).…”

Section: Why Precarity?mentioning

confidence: 99%

Precarity of place: a complement to the growing precariat literature

Banki¹

2013

Global Discourse

108

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The growing precarity literature offers some valuable ways of thinking about both the roots of and responses to precarity, whether defined existentially (as per Butler), economically (Standing) or intersubjectively (Neilson and Rossiter). Yet the term precarity, in its eagerness to encompass all those who experience it, fails to properly capture the challenges of one of its subset populations: that of noncitizens. Rather than discard the term altogether, this paper incorporates elements from the precariat literature and offers a counter (sub)concept: 'precarity of place.' The paper briefly reviews the precarity literature, then argues for the importance of a separate term for precarity of place, and then notes how the concepts are well aligned. The paper concludes with suggestions for future research, both theoretical and empirical.

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“…A number of theorists have analysed artists in relation to the precariat (Oakely, 2009;Helms, 2011;Bain and McLean, 2012;De Peuter, 2014). They have noted their often uncertain material and existential lives, and how they bear the cost of their own professional development, insurance, benefits, sick and maternity leave (National Arts Grants Committee, 2011; c.f.…”

Section: Artistic Precarity?mentioning

confidence: 99%

“…It has also considered the importance of working conditions and income in terms of precarity and self-exploitation among artists. See, for example, Bain and McLean (2012); Banks (2010); Bourdieu (1996); Eikhof and Haunschild (2006); Flisbäck (2014);Gerber (2015); Gill and Pratt (2008) Taylor and Littleton (2012); Witt (2004). In terms of establishing a life as an artist, issues relating to gender, family and parenting have been explored by researchers such as Banks and Milestone (2011);Cowen (1996); Gill (2002;; Flisbäck (2013); Hesmondalgh and Baker (2011);Pollock (1983).…”

Section: Introductionmentioning

confidence: 99%

(Un)bearable freedom : Exploring the becoming of the artist in education, work and family life

Lindström¹

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Linköping Studies in Arts and Science No. 692 At the Faculty of Arts and Sciences at Linköping University, research and doctoral studies are carried out within broad problem areas. Research is organized in interdisciplinary research environments and doctoral studies mainly in graduate schools. Jointly, they publish the series Linköping Studies in arts and Science. This thesis comes from the Department of Cultural Studies (Tema Kultur och Samhälle, Tema Q) At Tema Q, culture is studied as a dynamic field of practices, including agency as well as structure, and cultural products as well as the way they are produced, consumed, communicated and used. Tema Q is part of the larger Department for Studies of Social Change and Culture (ISAK). AbstractThe aim of this dissertation is to explore and understand three important social contexts for the construction 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 Artist's 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 relate 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.

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The artistic precariat

Cited by 95 publications

References 26 publications

Determinants of Hungarian Sub-Regions’ Territorial Capital

Determinants of Hungarian Sub-Regions’ Territorial Capital

Precarity of place: a complement to the growing precariat literature

(Un)bearable freedom : Exploring the becoming of the artist in education, work and family life

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