Looking Back, Looking Forward: Arts-Based Careers and Creative Work

Lingo, Elizabeth Long; Tepper, Steven J.

doi:10.1177/0730888413505229

Cited by 156 publications

(151 citation statements)

References 77 publications

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“…A sua capacidade para improvisar, interpretar e transformar ideias e obras; a capacidade para traduzir e compartilhar ideias de diferentes disciplinas; a capacidade para negociar diferentes perspetivas, metas e interesses para construir projetos; mas também a capacidade para construir redes profissionais, analisar e lidar com as mudanças tecnológicas, culturais, sociais, políticas e organizacionais (Lingo e Tepper, 2013). No mesmo sentido, a discussão da formação artística exige uma nota sobre a importância da transversalidade de campos disciplinares a que os jovens se dedicam e a sua consequente circularidade entre campos de atuação distintos, já notadas por outros autores (Canclini, Cruces e Pozo, 2012).…”

Section: Discussionunclassified

Jovens, formação e mercados artísticos: estudos no Brasil e em Portugal

Borges¹,

Faria

2015

CCT

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Palavras-chave: arte, formação, mercados artísticos, juventude. ResumoO objetivo do artigo é discutir os processos de formação, profissionalização e inserção social dos jovens no mercado artístico da cidade de Salvador, na Bahia, e comparar as conclusões preliminares desse estudo com uma pesquisa anterior, realizada em contexto português, junto de mais de uma centena de jovens artistas. Os dados analisados mostram que nos dois contextos, entre Portugal e o Brasil, os cenários das artes têm mobilizado sonhos e expectativas entre os mais jovens. As instituições oferecem mais cursos nas áreas artísticas, mas tal oferta de formação e a sua procura por parte dos alunos tem contrastado com os elevados níveis de "desligamento", no caso de Salvador, e de desilusão, no caso português, durante o período de formação e inserção destes jovens, agenciadores de mudança no mercado de trabalho.Palavras-chave: arte, formação, mercados artísticos, juventude. Introdução 3No século XXI, a cultura ganha um valor central na economia, num movimento que conjuga os fenómenos da "mercantilização da cultura" e da "culturalização da mercadoria" (Machado, Rabelo e Gomes, 2013). Estes 1 vera.borges@iscte.pt. 2 ivanxfaria@gmail.com. 3 Uma versão preliminar deste texto foi apresentada pelos autores ao XII Congresso Luso-Afro-Brasileiro (CONLAB) de Ciências Sociais, entre 1 e 5 de fevereiro de 2015, na FCSH, em Lisboa, constando das atas desse encontro com o título "Juventude e mercado artístico: desafios para a formação e o trabalho, no Brasil e em Portugal".

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Section: Discussionunclassified

Jovens, formação e mercados artísticos: estudos no Brasil e em Portugal

Borges¹,

Faria

2015

CCT

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“…Artists have been theorized as the model for the autonomous, self-realizing, passionate worker, controlling their own time and work in a flexible work situation (Lingo and Tepper 2013;Throsby and Zednick 2011). As such, artists arguably fit into the model of homo ludens, the playing man, as separate from homo faber, the working man (Huizinga 1955).…”

Section: Journal Of Current Cultural Researchmentioning

confidence: 99%

“It usually works out, but you never know”. Emotion Work as a Strategy for Coping in the Insecure Artistic Career.

Lindström¹

2018

Cult. Unbound

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This article explores how contemporary Swedish visual artists manage and make sense of career insecurity through emotion work. The specific emotions discussed in the material are trust, hope and luck. Emotion work is related to coping in an increasingly insecure world of work in late modern capitalism, which has been theorized as relying on the creativity, passion and subjectivity of workers. Through analysing what the artists anticipate of their future careers, the study found the main desire of the artists to be the continuation of their creative endeavour-an endeavour not necessarily related to professional success but rather to identity formation. This understanding of success forms part of two overarching discourses found in the material: art as non-work discourse and the art world as arbitrary discourse, which both relate to certain emotional work when failing/succeeding to uphold the artistic creation. The prestigious arts education of the respondents is analysed as part of sustaining hope of continuation when future career prospects seem grim. Trust and luck are analysed as emotion work in relation to having experiences of success, even though the art world is discursively framed as arbitrary. The concluding argument of the article is that understanding emotion work in relation to the insecure or even failed career can shed light on resources related to social position rather than properties of the individual psyche.

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“…Issues of work, education and family are clearly not specific to the art world. We are witnessing a historical moment where non-standard work is increasing (Allvin, 2011;Castells, 2001;Edgell, 2006;Kalleberg, 2011;Standing, 2011;Lingo and Tepper, 2013), and artists can function as useful windows for understanding how this type of work is experienced, how it contributes to the identity of the worker, and what it means for wanting or having a family.…”

Section: Becoming An Artist -Concluding the Thesismentioning

confidence: 99%

“…This marks a change, noted by Gerber (2015:37), towards an increasing understanding of visual art practice as "work" in terms of an "occupational turn" (c.f. Lingo and Tepper, 2013). The occupational turn is considered to be related to an increase in university-trained artists and the importance of a higher arts education for the professional status of artists (c.f.…”

Section: Art As Fundamental Human Actionmentioning

confidence: 99%

“…As noted above, the type of nonstandard work common among artists, such as project-based work, self-employment and holding down a number of jobs, is on the rise in the general workforce in most economies (Throsby and Zednick, 2011). Understanding artists' success stories and coping strategies thus becomes important for the broader work force (Lingo and Tepper, 2013).…”

Section: Introductionmentioning

confidence: 99%

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(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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Looking Back, Looking Forward: Arts-Based Careers and Creative Work

Cited by 156 publications

References 77 publications

Jovens, formação e mercados artísticos: estudos no Brasil e em Portugal

Jovens, formação e mercados artísticos: estudos no Brasil e em Portugal

“It usually works out, but you never know”. Emotion Work as a Strategy for Coping in the Insecure Artistic Career.

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

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