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Presents a career development guide for artists, covering such topics as evaluating works, submitting art to museums and galleries, organizing events, raising funds, and using social media to promote one's art.
How today’s artists survive, exhibit, and earn money—without selling out! Career-minded artists, this is the book you have been waiting for! Making It in the Art World, Second Edition, explains how to be a professional artist and shares new methods to define and realize what success means. Whether you’re a beginner, a student, or a career artist looking to be in the best museum shows, this book provides ways of advancing your plans on any level. Author Brainard Carey, an artist himself with prestigious exhibitions like the Whitney Biennial under his belt, draws on more than twenty years of experience in the art world and from over 1,500 interviews with artists and curators for Yale University Radio. Included is a thirteen-part workbook to help you formulate and execute a winning career advancement strategy, a process that will prepare you for navigating the art world successfully. Friendly chapters walk you through it all with topics such as: Evaluating your work Submitting proposals to museums and galleries Creating pop-up shows Presenting work to the public Doing it your way (DIY exhibits) Organizing events Writing press releases Finding collectors online and connecting Using social media effectively Selling online Raising funds for projects Getting international recognition Making It in the Art World, Second Edition, is an invaluable resource for artists at every stage, offering readers a plethora of strategies and helpful tips to plan and execute a successful artistic career.
On its face, The Art of World-Making focuses on honouring the career of Nicholas Greenwood Onuf and his contributions to the study of international relations; of equal importance, however, while using Onuf’s work as their touchstone, the contributions to this volume range widely across IR theory, making important interventions in some of the most important topics in the field today. The volume considers the place of Constructivism and Republicanism in the field of international relations, and the contestation that accompanies the question of their place in the field, asking: • What explains the dominance of some forms of Constructivism and the relative lack of influence of other forms? • What can rule-oriented Constructivism, the focus here, provide our field that other forms of Constructivism have been unable to? • Into what new and productive directions can Constructivism be taken? • What are its gaps and what are the resources to remedy those gaps? • What can Republicanism tell us about ongoing issues in international law, global governance, liberalism, and crisis? Drawing together essays from some of the leading scholars in the field, space is given after each chapter for a detailed and highly personal response piece to each contribution, written by Onuf. This unique volume will be essential reading for students and scholars of international relations.
This collection is a response to Alex Potts's provocative 2013 book Experiments in modern realism. Twenty essays by leading art historians explore Pott's recasting of realism, providing a new understanding of artworks dating from the eighth to twenty-first centuries and challenging established thinking on art's relation to the everyday.
Artwork and popular cultures are crucial sites of contesting and transforming power relationships in world politics. The contributors to this edited collection draw on their experiences across arts, activist, and academic communities to analyze how the global politics of colonialism, capitalism, and patriarchy are expressed and may be transformed through popular cultures and artistic labour. Through their methodological treatment of artwork and popular cultures as material sites of generating aesthetic knowledge and embodying global power, the authors foreground an analysis of global hierarchies and transformative empowerment through critically engaged political imagination and cultural projects. By centralizing an intersectional analysis of the racialized, gendered, economic dimensions of the praxis of culture, The Art of Global Power demonstrates how artwork and popular culture projects, events, and institutions are vital sites of transgressing the material conditions that produce and sustain unjust global power hierarchies. This book intervenes in the international relations popular culture literature by problematizing the idea of a single homogenizing global popular culture and engaging with multiple popular cultures articulated from diverse global locations and worldviews. To the international relations aesthetics literature this book contributes an intersectional analysis of aesthetics as an embodied process of knowledge production and action that takes place within global conditions of colonialism, capitalism, and patriarchy. This book will be of interest to students, researchers and practitioners of international relations, and gender, cultural and media studies.
This book offers "a new take on the history of American diplomacy. Rather than retracing a familiar story of realism versus idealism, David Milne suggests that U.S. foreign policy has also been crucially divided between those who view statecraft as an art and those who believe it can aspire toward the certainties of science. [The book] follows a colorful cast of characters who built on each other's ideas to create the policies we have today ... From the age of steam engines to the age of drones, Milne reveals patterns of aspirant worldmaking that have remained impervious to the passage of time. The result is a panoramic history of U.S. foreign policy driven by ideas and the lives and times of their creators"--
A fly-on-the-wall account of the smart and strange subcultures that make, trade, curate, collect, and hype contemporary art. The art market has been booming. Museum attendance is surging. More people than ever call themselves artists. Contemporary art has become a mass entertainment, a luxury good, a job description, and, for some, a kind of alternative religion. In a series of beautifully paced narratives, Sarah Thornton investigates the drama of a Christie's auction, the workings in Takashi Murakami's studios, the elite at the Basel Art Fair, the eccentricities of Artforum magazine, the competition behind an important art prize, life in a notorious art-school seminar, and the wonderland of the Venice Biennale. She reveals the new dynamics of creativity, taste, status, money, and the search for meaning in life. A judicious and juicy account of the institutions that have the power to shape art history, based on hundreds of interviews with high-profile players, Thornton's entertaining ethnography will change the way you look at contemporary culture.
In 1978, Nelson Goodman explored the relation of “worlds” to language and literature, formulating the term, “worldmaking” to suggest that many other worlds can as plausibly exist as the “world” we know right now. We cannot catch or know “the world” as such: all we can catch are the world versions - descriptions, views or workings of the world – that are expressed in symbolic systems (words, music, dancing, visual representations). Over the twenty-five years since then, creative works have played a crucial role in realigning, reshaping and renegotiating our understandings of how worlds can be made and preserved in the face of globalizing trends. The volume is divided into three sections, each engaging with worlds as malleable constructs. Central to all of the contributions is the question: how can we understand the relationships between natural, political, cultural, fictional, literary, linguistic and virtual worlds, and why does this matter?
In recent years, the rise of research-creation—a scholarly activity that considers art practices as research methods in their own right—has emerged from the organic convergences of the arts and interdisciplinary humanities, and it has been fostered by universities wishing to enhance their public profiles. In How to Make Art at the End of the World Natalie Loveless draws on diverse perspectives—from feminist science studies to psychoanalytic theory, as well as her own experience advising undergraduate and graduate students—to argue for research-creation as both a means to produce innovative scholarship and a way to transform pedagogy and research within the contemporary neoliberal university. Championing experimental, artistically driven methods of teaching, researching, and publication, research-creation works to render daily life in the academy more pedagogically, politically, and affectively sustainable, as well as more responsive to issues of social and ecological justice.
