Who is the contemporary artist? Social representation of the artist among visual art students

Abstract

Who is the contemporary artist? Social representation of the artist among visual art students Streszczenie:Artykuł prezentuje zastosowanie analizy pól semantycznych w celu zrekonstruowania reprezentacji współczesnego artysty wśród studentów sztuk wizualnych. 124 studentów Wydziału Sztuki Uniwersytetu Pedagogicznego w Krakowie oraz Akademii Sztuk Pięknych w Krakowie odpowiedziało na otwarte pytanie: Kim jest artysta w naszych czasach? Uzyskany materiał jakościowy pozwolił na nakreślenie pola semantycznego czyli ekwiwalentów, opozycji, określeń, asocjacji, działań podmiotu oraz działań wobec podmiotu, z którymi pojęcie artysty jest utożsamiane w percepcji przyszłych twórców. W artykule przedstawiono, wnioski, implikacje praktyczne i przyszłe kierunki badań. Słowa kluczowe:reprezentacja artysty, percepcja społeczna, analiza pól semantycznych, studenci sztuk wizualnych Abstract:The paper presents the application of semantic field analysis to the reconstruction of the social representation of the contemporary artist among visual arts students. 124 students from the Faculty of Art of the Pedagogical University of Cracow and the Academy of Fine Arts in Krakow answered an openended question: Who is the artist in our time? The narrative material was used to reconstruct the equivalents, opposites, attributes, associations, activities of the subject and activities on the subject which constitute the semantic field of the concept "contemporary artist". The conclusions, practical implications and direction for future studies are presented.

The Aesthetic Perception of Pua Kumbu Textile: A Holistic Exploration

“…Individuals with these factors can better comprehend the art piece's values. As Pietras and Czernecka (2018) mentioned, people with art knowledge and a formal art education background have greater opportunities to build complex, sophisticated aesthetic judgment and interpretation strategies than people without art education training.…”

Individual differences in scientists’ aesthetic disposition, aesthetic experiences, and aesthetic sensitivity in scientific work

“…More modern research has examined aesthetics and personality in the contexts of taste and complexity (Eysenck, 1940), judgments of and preferences for visual art (Barron, 1953;Knapp and Wulff, 1963;Child, 1965), and even socio-political leanings (Wilson et al, 1973). Much of the psychological literature on this topic has focused on how specific personality traits predict certain kinds of aesthetic engagement (Rawlings et al, 2000;Keltner and Haidt, 2003;Thrash and Elliot, 2003;Shiota et al, 2007;Silvia et al, 2015;Atari et al, 2020) and how some personality traits correlate with aesthetics-adjacent domains, especially visual art (Locher, 2012;Afhami and Mohammadi-Zarghan, 2018;Pietras and Czernecka, 2018;Atari et al, 2020). Experiences of beauty, wonder, and awe have also been linked to improved wellbeing and quality of life (Wanzer et al, 2020;Jacobi et al, 2022) as well as with domains of self-transcendence, such as motivation and emotion (Marković, 2012).…”

Sustainable development of art industry and a statistical analysis of the factors that influence the gallery prices of contemporary artworks

“…There is no doubt that to be able to work as an artist, one should have certain qualifications such as esthetic sensitivity, artistic talent and creativity (Karttunen, 1998;Pietras, 2017;Travis, 2021). Similarly, to be recognized as an artwork, an artifact should possess various qualities including esthetic integrity, authenticity, originality, uniqueness or rarity, and social, historical or provenance significance (Arlander, 2010).…”

“…Supporting these efforts and the establishment of a holistic sustainability culture, a number of researchers point out the difficulties and challenges faced by artists, and stress the significance of artists' economic sustainability to ensure the continuity of artistic production. There is no doubt that to be able to work as an artist, one should have certain qualifications such as esthetic sensitivity, artistic talent and creativity (Karttunen, 1998; Pietras, 2017; Travis, 2021). Similarly, to be recognized as an artwork, an artifact should possess various qualities including esthetic integrity, authenticity, originality, uniqueness or rarity, and social, historical or provenance significance (Arlander, 2010).…”