搜索结果：Artists

In this paper I critique the notion of ‘the creative class' and the fuzzy causal logic about its relationship to urban growth. I argue that in the creative class, occupations that exhibit distinctive spatial and political proclivities are bunched together, purely on the basis of educational attainment, and with little demonstrable relationship to creativity. I use a case study of artists, one element of the purported creative class, to probe this phenomenon, demonstrating that the formation, location, urban impact, and politics of this occupation are much more complex and distinctive than has been suggested previously. The spatial distribution of artists is a function of semiautonomous personal migration decisions, local nurturing of artists in dedicated spaces and organizations, and the locus of artist-employing firms. Artists have very high rates of self-employment, boosting regional growth by providing import-substituting consumption activities for residents and through direct export of their work. Their contribution to attracting high-tech activity is ambiguous—causality may work in the opposite direction. Artists play multiple roles in an urban economy—some progressive, some problematic. I argue that artists as a group make important, positive contributions to the diversity and vitality of cities, and their agendas cannot be conflated with neoliberal urban political regimes. I show the potential for artists as a political force to lead in social and urban transformation and the implausibility of their common cause with other members of Florida's ‘creative class’, such as scientists, engineers, managers, and lawyers.

This study addressed the question of how artists differ from non-artists in visual cognition. Four perception and twelve drawing tasks were used. Artists outperformed non-artists on both kinds of tasks. Regression analyses revealed common visual processes in the two kinds of tasks and unique variance in the drawing tasks. The advantage of artists over non-artists was apparently in the way they perceptually analysed as well as in how they drew. The perceptual advantage seems to be closely linked to the activity of drawing and is discussed with reference to artists' extensive experience in visual interaction with objects and images during drawing. Artists appear to be more proficient at using visual analytic procedures that are qualitatively similar to those of novices, unlike experts in many other domains.

The purpose of the present study was to investigate some personality characteristics of especially successful artists in comparison with those of less successful artists. In a recent study (Götz & Götz, 1979) 257 painters and sculptors had been given the Eysenck Personality Questionnaire. From this group four art experts selected the names of 60 well-known artists. Another group of 18 art experts judged the degrees of success of these artists and also their ‘contributions to the development of contemporary art’. Successful artists scored much higher on Psychoticism than the less successful artists. No significant differences between the means on Extraversion, Neuroticism, and the Lie scale were found. Scores for success of the 18 most successful artists were correlated with their corresponding rating of contributions. No significant correlation was found. It was concluded that success in the arts (as defined in this study) may not be synonymous with originality.

The last 3 years have resulted in machine learning (ML)-based image generators with the ability to output consistently higher quality images based on natural language prompts as inputs. As a result, many popular commercial “generative AI Art” products have entered the market, making generative AI an estimated $48B industry [125]. However, many professional artists have spoken up about the harms they have experienced due to the proliferation of large scale image generators trained on image/text pairs from the Internet. In this paper, we review some of these harms which include reputational damage, economic loss, plagiarism and copyright infringement. To guard against these issues while reaping the potential benefits of image generators, we provide recommendations such as regulation that forces organizations to disclose their training data, and tools that help artists prevent using their content as training data without their consent.

In two sessions with free scanning and memory instructions, eye-movement patterns from nine artists were compared with those of nine artistically untrained participants viewing 16 pictures representing a selection of categories from ordinary scenes to abstraction: 12 pictures were made to accommodate an object-oriented viewing mode (selection of recognisable objects), and a pictorial viewing mode (selection of more structural features), and 4 were abstract. The artistically untrained participants showed preference for viewing human features and objects, while the artists spent more scanning time on structural/abstract features. A group by session interaction showed a change of viewing strategy in the artists, who viewed more objects and human features in the memory task session. A verbal test of recall memory showed no overall difference in the number of pictures remembered, but the number of correctly remembered pictorial features was significantly higher for artists than for the artistically untrained viewers, irrespective of picture type. No differences in fixation frequencies/durations were found between groups across sessions, but a significant task-dependent-group by session interaction of fixation frequency/duration showed that the artistically untrained participants demonstrated repetition effects in fewer, longer fixations with repeated viewing, while the opposite pattern obtained for the artists.

Most artists earn very little. Nevertheless, there is no shortage of aspiring young artists. Do they give to the arts willingly or unknowingly? Governments and other institutions also give to the arts, to raise the low incomes. But their support is ineffective: subsidies only increase the artists' poverty. The economy of the arts is exceptional. Although the arts operate successfully in the marketplace, their natural affinity is with gift-giving, rather than with commercial exchange. People believe that artists are selflessly dedicated to art, that price does not reflect quality, and that the arts are free. But is it true? This unconventional multidisciplinary analysis explains the exceptional economy of the arts. Insightful illustrations from the practice of a visual artist support the analysis

<div>Most artists earn very little. Nevertheless, there is no shortage of aspiring young artists. Do they give to the arts willingly or unknowingly? Governments and other institutions also give to the arts, to raise the low incomes. But their support is ineffective: subsidies only increase the artists' poverty.<br><br>The economy of the arts is exceptional. Although the arts operate successfully in the marketplace, their natural affinity is with gift-giving, rather than with commercial exchange. People believe that artists are selflessly dedicated to art, that price does not reflect quality, and that the arts are free. But is it true?<br><br>This unconventional multidisciplinary analysis explains the exceptional economy of the arts. Insightful illustrations from the practice of a visual artist support the analysis.</div>

'Every work of art is an uncommitted crime' Adorno (1951). Cited in Julius (2002). Given the putative relationship between creativity and schizotypy/psychoticism, the current study set out to investigate differences in scores on a range of personality and creativity measures between visual artists and non-artists. Results found that the visual artists group scored higher on measures of positive-schizotypy, disorganized-schizotypy, asocial-schizotypy, neuroticism, openness and divergent thinking (uniqueness) than did the non-artist group and lower on agreeableness. These findings lend support to other studies reporting higher schizotypy scores in artistic and creative cohorts, although provide some of the first evidence of higher unusual experiences and impulsive nonconformity scores on the Oxford-Liverpool Inventory of Feelings and Experiences (O-LIFE) in visual artists. The relationship between creativity and schizotypy is discussed in terms of unusual ideas and a propensity to endorse socially undesirable responses.

Extremes in mood, thought and behavior--including psychosis--have been linked with artistic creativity for as long as man has observed and written about those who write, paint, sculpt or compose. The history of this long and fascinating association, as well as speculations about its reasons for being, have been discussed by several modern authors and investigators, including Koestler (1975), Storr (1976), Andreasen (1978), Becker (1978), Rothenberg (1979), Richards (1981), Jamison (in press) and Prentky (in press). The association between extreme states of emotion and mind and creativity not only is fascinating but also has significant theoretical, clinical, literary and societal-ethical implications. These issues, more thoroughly reviewed elsewhere (Jamison et al. 1980; Richards 1981; Jamison, in press), include the understanding of cognitive, perceptual, mood and behavioral changes common to manic, depressive and creative states; the potential ability to lessen the stigma of mental illness; effects of psychiatric treatment (for example, lithium) on creativity; and concerns raised about genetic research on mood disorders. The current study was designed to ascertain rates of treatment for affective illness in a sample of eminent British writers and artists; to study differences in subgroups (poets, novelists, playwrights, biographers, artists); to examine seasonal patterns of moods and productivity; and to inquire into the perceived role of very intense moods in the writers' and artists' work. One of the major purposes of this investigation was to look at possible similarities and dissimilarities between periods of intense creative activity and hypomania. Hypothesized similarities were based on the overlapping nature of mood, cognitive and behavioral changes associated with both; the episodic nature of both; and possible links between the durational, frequency and seasonal patterns of both experiences.

With data from the 1980 census, earnings of artists are investigated. It is found that, contrary to widely held beliefs, artists do not appear to earn less than other workers of similar training and personal characteristics. Artists in 1980 are significantly younger than the general work force, probably because of the rapid growth of the artistic professions in recent years.

Gentrification involves the transition of inner-city neighbourhoods from a status of relative poverty and limited property investment to a state of commodification and reinvestment. This paper reconsiders the role of artists as agents, and aestheticisation as a process, in contributing to gentrification, an argument illustrated with empirical data from Toronto, Montreal and Vancouver. Because some poverty neighbourhoods may be candidates for occupation by artists, who value their afford ability and mundane, off-centre status, the study also considers the movement of districts from a position of high cultural capital and low economic capital to a position of steadily rising economic capital. The paper makes extensive use of Bourdieu's conceptualisation of the field of cultural production, including his discussion of the uneasy relations of economic and cultural capitals, the power of the aesthetic disposition to valorise the mundane and the appropriation of cultural capital by market forces. Bourdieu's thinking is extended to the field of gentrification in an account that interprets the enhanced valuation of cultural capital since the 1960s, encouraging spatial proximity by other professionals to the inner-city habitus of the artist. This approach offers some reconciliation to theoretical debates in the gentrification literature about the roles of structure and agency and economic and cultural explanations. It also casts a more critical historical perspective on current writing lauding the rise of the cultural economy and the creative city.

The visual arts are rapidly changing as media moves into the web, mobile devices, and architecture. When designers and artists learn the basics of writing software, they develop a new form of literacy that enables them to create new media for the present, and to imagine future media that are beyond the capacities of current software tools. This book introduces this new literacy by teaching computer programming within the context of the visual arts. It offers a comprehensive reference and text for Processing (www.processing.org), an open-source programming language that can be used by students, artists, designers, architects, researchers, and anyone who wants to program images, animation, and interactivity. Written by Processing's cofounders, the book offers a definitive reference for students and professionals. Tutorial chapters make up the bulk of the book; advanced professional projects from such domains as animation, performance, and installation are discussed in interviews with their creators.This second edition has been thoroughly updated. It is the first book to offer in-depth coverage of Processing 2.0 and 3.0, and all examples have been updated for the new syntax. Every chapter has been revised, and new chapters introduce new ways to work with data and geometry. New "synthesis" chapters offer discussion and worked examples of such topics as sketching with code, modularity, and algorithms. New interviews have been added that cover a wider range of projects. "Extension" chapters are now offered online so they can be updated to keep pace with technological developments in such fields as computer vision and electronics.InterviewsSUE.C, Larry Cuba, Mark Hansen, Lynn Hershman Leeson, Jurg Lehni, LettError, Golan Levin and Zachary Lieberman, Benjamin Maus, Manfred Mohr, Ash Nehru, Josh On, Bob Sabiston, Jennifer Steinkamp, Jared Tarbell, Steph Thirion, Robert Winter

Edited by Stiles and Selz, this collection of well known artists' writings and critical texts by North American and European artists/authors draws attention to key moments in the evolution of late-modern art. The texts – manifestos, theoretical essays, interviews, letters, etc. – are placed within one of the following nine categories: Gestural Abstraction; Geometric Abstraction; Figuration; Material Culture and Everyday Life; Art and Technology; Installations, Environments and Sites; Process; Language and Concepts. Includes brief introductions to each chapter. Bibliography. Index. Circa 1300 bibl. ref.

An exploration of walking and mapping as both form and content in art projects using old and new technologies, shoe leather and GPS. From Guy Debord in the early 1950s to Richard Long, Janet Cardiff, and Esther Polak more recently, contemporary artists have returned again and again to the walking motif. Today, the convergence of global networks, online databases, and new tools for mobile mapping coincides with a resurgence of interest in walking as an art form. In Walking and Mapping, Karen O'Rourke explores a series of walking/mapping projects by contemporary artists. She offers close readings of these projects-many of which she was able to experience firsthand-and situates them in relation to landmark works from the past half-century. Together, they form a new entity, a dynamic whole greater than the sum of its parts. By alternating close study of selected projects with a broader view of their place in a bigger picture, Walking and Mapping itself maps a complex phenomenon.

暂无摘要（点击查看原文获取完整内容）

A Pigment Handbook is designed to reach a wide audience as the ultimate authority on artists' colorants. With the support of the National Gallery of Art, Professor Robert Feller has edited a collection of essays on ten of the most important pigments for conservators, restorers, and art historians. Many of the monographs first appeared in the quarterly of the International Institute for Conservation of Historic and Artistic Work. The first two sections describe the character and nomenclature of the pigment and the history of its use. The third section deals with such matters as colour, permanence and compatibility. The fourth section enumerates the varieties of the pigment available, differences that may arise owing to different methods of preparation, and, in the case of colorants that could be of natural origin, the potential variations of character dependent on the source. Section Five describes the methods and procedures that can be employed to identify the pigments. Finally, the sixth section of each essay lists the principal citations in which the particular pigment has been identified in various objects of artistic and historic significance.

The phenomenon of voluntary self-starvation - whether by political hunger strikers or lone anorectics - is a puzzle of engrossing power, suggesting a message more radical than any uttered aloud. In this fascinating phenomenology, Maud Ellmann teases out this message, its genesis, expression, and significance. How, she asks, has the act of eating become the metaphor for compliance, starvation the metaphor for protest? How does the rejection of food become the rejection of intolerable social constraints - or of actual imprisonment? What is achieved at the extremity of such a protest - at the moment of death? Ellmann brilliantly unravels the answers; they lie, she shows, in the inverse relationship between bodily hunger and verbal expression. Drawing her examples from Yeats and Kafka, Marx and Freud, Wole Soyinka and the suffragettes, Mahatma Ghandi and Jane Fonda, she explores the entangled meanings of writing and hunger in our culture of starvers. Central to her discussion is an arresting comparison between the Irish Hunger Strike of 1981 and the plot of Richardson's Clarissa, in which the heroine starves herself to death in penance for - or, perhaps, revenge against - her rape. Both cases show a strange excess of words in contrast to the savage reduction of the flesh, as if the bodies of the starvers were devoured by their own verbosity. The Hunger Artists examines this vampirical feeding of words on flesh, revealing uncanny affinities between the labor of starvation and the birth of letters, diaries, poems, books. In her lean and vibrant prose, Ellmann reaches beyond the fashionable preoccupation with the body to the terrifying logic of disembodiment.

Explain why is art usually an inferior investment to common stocks; how have artists through the centuries acted as entrepreneurs without sacrificing their art; what is the true meaning of the art auction; why does government subsidy make sense?