By Kirsten Forkert
Creative Lives examines cultural construction as a non-standard, self-directed, and regularly unpaid task, that's vulnerable to advancements that impact the supply of unstructured time. It engages with discourses that have traditionally had little to do with the humanities, together with city sociology and social coverage study, to discover the social stipulations and identities of normal artists, revealing the significance of the price of residing or entry to housing, merits or employment in picking who's capable of develop into an artist or maintain a creative career.The booklet therefore demanding situations fresh coverage discourses that remember the power of cultural manufacturers to create anything from not anything, and, extra in general, the parable of creativity as anyone phenomenon, divorced from social context. featuring wealthy interview fabric with artists and humanities execs in London and Berlin, including ethnographic descriptions, creative Lives engages with debates surrounding Post-Fordism, gentrification and the character of authorship, to elevate not easy questions about the functionality of tradition and the function of cultural manufacturers inside modern capitalism.An empirically grounded exploration of the identification of the trendy artist and his or her skill to make a residing in neoliberal societies, creative Lives should be of curiosity to scholars and students learning city reports, the sociology of artwork and artistic cultures, social stratification and social coverage.
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Additional info for Artistic Lives: A Study of Creativity in Two European Cities
Using the music industry as an example, Miège talks about the ‘need to maintain the aura of artistic activity’; reproducible cultural products such as records ‘must continue to bear the stamp of genius and uniqueness, and not appear to be emanating from research laboratories, but to be exclusively produced by artists accountable to no one but themselves’ (Miège, 1989, p. 46). Cultural brokers (who Miège terms ‘éditeurs’) come to play an increasingly important role in the creative process, but the ‘stamp of genius’ must remain intact for these distribution systems to function: ‘the star system and the industrial organisation of Hollywood are indissolubly linked’ (Miège,1989, p.
Many young people preferred odd jobs to stable, permanent but ultimately unsatisfying employment for which they were over-qualified. The 1960s generation entered positions of power in government and business and brought their values with them. For example, a 1972 OECD report on employment called for changing the definition of success, whereby technical skill and accumulated work experience should be downplayed 38 Artistic Lives in favour of a ‘a constant ability to acquire new qualifications and perform new tasks: thus social maturity will find expression in creative imagination and not mastery of an age-old occupation’ (Boltanski and Chiapello, 2005, p.
Conceptual art was a 1960s avant-garde art movement which self-reflexively considered the nature of art and experimented with performance and communications technologies and which would become influential for contemporary art in the years to come. It embraced new technological and cultural developments in certain ways and, in other ways, reacted against them. According to art historian Benjamin Buchloh, conceptual art was marked by tension between imperatives to maintain ‘the last bastions of an autonomous sphere’ within a ‘rapidly accelerating fusion of the culture industry’ (1990, p.