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This book is a compilation of papers derived from talks, presented at TransCultural Exchange’s 2018 International Conference on Opportunities in the Arts. The aim of these talks was to inspire artists to think across disciplines and cultures and to suggest other career models beyond the typical studio to gallery/museum model. Much of this content is unique in that it not only addresses the practical needs of artists but, even more importantly, it does so in the context of today’s global reality. As artists have noted on post-Conference surveys, this information is “the missing link in the art world; the bridge between academic and real-world practice; between a local and international career in the arts.” By making this information available long-after the Conference’s end and to those who could not directly participate in the Conference, many more artists will have access to where to find jobs/residency programs and funding for their work, information on how to put together successful residency applications, how to market their work, and other professional development programming. In addition, they (and interested members of the public) will have access to the Conference talks on what leading artists are doing across disciplines, with new technologies, and in the public sphere.
The fiftieth anniversary edition of the essay that is now recognized as the first major work of feminist art theory—published together with author Linda Nochlin’s reflections three decades later. Many scholars have called Linda Nochlin’s seminal essay on women artists the first real attempt at a feminist history of art. In her revolutionary essay, Nochlin refused to answer the question of why there had been no “great women artists” on its own corrupted terms, and instead, she dismantled the very concept of greatness, unraveling the basic assumptions that created the male-centric genius in art. With unparalleled insight and wit, Nochlin questioned the acceptance of a white male viewpoint in art history. And future freedom, as she saw it, requires women to leap into the unknown and risk demolishing the art world’s institutions in order to rebuild them anew. In this stand-alone anniversary edition, Nochlin’s essay is published alongside its reappraisal, “Thirty Years After.” Written in an era of thriving feminist theory, as well as queer theory, race, and postcolonial studies, “Thirty Years After” is a striking reflection on the emergence of a whole new canon. With reference to Joan Mitchell, Louise Bourgeois, Cindy Sherman, and many more, Nochlin diagnoses the state of women and art with unmatched precision and verve. “Why Have There Been No Great Women Artists?” has become a slogan and rallying cry that resonates across culture and society. In the 2020s, Nochlin’s message could not be more urgent: as she put it in 2015, “There is still a long way to go.”
Longlisted for the Authors' Club First Novel Award 'Divine . . . the smart, sexy read you need' Evening Standard 'Startlingly impressive' Daily Mail 'Exhilarating' Vogue.com 'An electric new novel' Guardian AN EXQUISITE DEBUT NOVEL. A MID-LIFE COMING-OF-AGE STORY CHARTING ONE MAN'S SEXUAL AWAKENING AND HIS SPECTACULAR FALL FROM GRACE IN 1990S LONDON. FOR FANS OF ALAN HOLLINGHURST AND EDWARD ST AUBYN. Exiled from his university position for an inexcusable blunder, art historian Don Lamb flees to London, a city alive with sex and creativity. There, over the course of a long, hot summer, as he is immersed in the anarchic art and gay scenes of the mid-90s, Don sees his carefully curated life irrevocably changed. But his epiphany is also a reckoning, as his unexamined past is revealed to him in a devastating new light. Intense and atmospheric, Tiepolo Blue traces Don's turbulent awakening, and his desperate flight from art into life. 'Wildly enjoyable . . . A novel that combines formal elegance with gripping storytelling' Financial Times 'Dizzying and exciting and unsettling, and beautifully told' Reverend Richard Coles, Daily Mail
Visual artists, craftspeople, musicians, and performers have been supported by the development community for at least twenty years, yet there has been little grounded and critical research into the practices and politics of that support. This new Routledge book remedies that omission and brings together varied perspectives from artists, policy-makers, and researchers working in the Pacific, Africa, Latin America, and Europe to explore the challenges and opportunities of supporting the arts in the development context. The book offers a series of grounded analyses which cover: strategies for the sustainability of arts enterprises; innovative evaluation methods; theoretical engagements with questions of art, agency, and social change; artists’ entanglements with legal and structural frameworks; processes of cultural mapping; and the artist/donor interface. The creative economy is increasingly recognized as a driver of development and this book also investigates the contribution made by the arts to the processes of international development, and considers how those processes can best be supported by development agencies. Contemporary Perspectives on Art and International Development gives scholars of Development Studies, Social and Cultural Geography, Anthropology, Cultural Policy, Cultural Studies, and Global Studies a contextually and thematically diverse range of insights into this emerging research field.
International Entrepreneurship in the Arts focuses on teaching students, artists, and arts managers specific strategies for expanding creative ventures that are already successful domestically to an international audience. Varbanova’s accessible writing outlines a systematic theoretical framework that guides the reader from generating an innovative idea and starting up an international arts enterprise to its sustainable international growth. Applying concepts, models, and tools from international entrepreneurship theory and practice, Varbanova analyzes how these function within the unique setting of the arts and culture sector. The book covers: Domestic inception of an arts enterprise, followed by international expansion Starting up an international arts venture in the early stages of its inception Presenting an arts activity or project in a foreign country or region Financing a startup venture with international resources Implementing diverse models of international partnership Starting up an arts venture that is run by a multinational team Creating an art product with international dimension The book’s 23 case studies and 54 short examples feature disciplines from fine arts and photography to music, theatre, and contemporary dance, and cover ventures in over 20 countries to provide students with practical insight into the issues and challenges facing real arts organizations. Aimed at students interested in the business aspects of arts and cultural ventures, it will also be of use to practitioners looking at ways to internationalize their own enterprises.