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2018 | Buch

Introduction: Understanding Artists Kapitel lesen Erstes Kapitel lesen

Artists’ Voices in Cultural Policy

Careers, Myths and the Creative Profession after German Unification

verfasst von: Dr. Simone Wesner

Verlag: Springer International Publishing

Buchreihe : New Directions in Cultural Policy Research

Enthalten in: Springer Professional "Wirtschaft+Technik" , Springer Professional "Wirtschaft"

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Über dieses Buch

This volume examines visual artists’ careers in the East German region of Saxony, as seen through the lens of cultural policy studies. The book discusses how myth binaries, memory layers and identity markers shaped artists professional lives in an interwoven and fluid approach following German unification, taking a fresh look at the intricacies of visual artists’ careers within the specifics of the cultural, social and political changes. It surveys artists’ professional practice and work under the new framework of the professional class, and discusses the implications for the profession of artists with special reference to visual artists. Simone Wesner looks beyond geographical and political contexts and provides the reader with a longitudinal narrative that produces a revised understanding of artists’ careers within the cultural policy context.

Inhaltsverzeichnis

Frontmatter

Mapping Perceptions

Frontmatter
Chapter 1. Introduction: Understanding Artists
Abstract
Artists’ lives are fascinating, complex and inspiring. Their “inner drive” and ambition bring out the key characteristics of artistic production, informing the artists’ image and reinforcing the myth surrounding their identity and behaviour. This chapter introduces the visual artists based in Saxony, one of the East German Länder, and takes a fresh look at their perceptions and careers against the backdrop of the cultural, social and political changes triggered by German unification. It explains the reasoning behind the methodological choice of using grounded theory and guides the reader, giving an overview of each of the seven chapters.
Simone Wesner
Chapter 2. The Artist and the Artistic Myth
Abstract
The first part of the book begins with an analysis of myth as a career driver, positioning myth as an anchor and a messenger that informs contemporary beliefs. It discusses how artists customised myth binaries within the process of creation, construction and deconstruction as a coping strategy to negotiate changing societal circumstances. It utilises artists’ art academy experience, their role during German unification and their views on marketisation as examples. The artistic myth is interpreted as an adaptable and committed cultural value that provides an explanation for the characteristics (success, risk taking, individuality) of a career in the arts, and does this equally well within a communist and a neoliberal context.
Simone Wesner
Chapter 3. Memory
Abstract
In this chapter the focus is on how artists see themselves with regard to time and memory. It questions what role memory plays when reflecting on careers and trajectories in the arts, while a longitudinal approach is applied in comparing the different time frames in relation to German unification. Memory and its traces have been assembled into different layers (memory layers), while memory is defined as a fluid concept that shapes and credits cultural values. Two examples, the Bilderstreit (East and West German understanding of art) and the story of Kasper (personal memory) present conflicting narratives that are amalgamated into a complex mix of tradition, expectations and interpretations of the past, present and future that, when combined, shape an artist’s career development.
Simone Wesner
Chapter 4. Identity
Abstract
After identity is contextualised, the focus in this chapter shifts towards “artistic identity”, which is referenced in concepts such as talent, success and belonging. Artistic identity provided security and social reputation for the artists while it is communicated and performed in the daily routines of producing art. However, identity remains, like myth and memory, a fragmented concept that is developed and questioned in and by narration. This perspective extends to understanding artistic identity as a form of cultural identity that develops within the framework of the professional group; for example, capturing the modes of resistance that artists applied both before and after unification. Thus the gap between artists’ individual understanding and the cultural policies that developed over the last 30 years is bridged.
Simone Wesner

Visual Artists in Cultural Policy

Frontmatter
Chapter 5. Inherited Certainties: Transitional Cultural Policies and Visual Artists
Abstract
In this chapter artist policy is traced out as part of wider cultural policy frameworks. Using the concepts of binaries, flow and network thinking as theoretical background, it is discussed why and how conceptual thinking helps to negotiate the different interests and understandings among multiple stakeholders in the policy decision-making process when discussing artists’ concerns. In the middle section, transformative artist policies in the Free State of Saxony are discussed and a short historical excerpt analyses artist policies in the former German Democratic Republic. The discussion concludes with two case studies on artist-facing organisations. The Artists Association and the Social Security Agency for Artists demonstrate hurdles, challenges and compromises that resulted from policy design and implementation before, during and after the unification process.
Simone Wesner
Chapter 6. Artists’ Professionalisation and Careers in the Cultural Policy Landscape
Abstract
In this chapter, artists’ careers are viewed through the professional lens, directing individual career perspectives toward artists as a professional group. First, the profession of artists as a concept is discussed before moving on to an analysis of artistic practice using Nicolini’s characterisations of practice as the discursive structure. Additionally, the notion of work is contextualised by utilising Luther’s protestant work ethic and Bourdieu’s concept of habitus. The chapter concludes by merging the key concept of myth, memory and identity previously discussed with the cultural policy framework under the concept of the professional class, thus creating a renewed proposition to integrate critical structure in contemporary cultural policy discourse and to apply a revised understanding that could inform measures for policy intervention.
Simone Wesner
Chapter 7. Conclusion: Artists, Policy and the Future of the Professional Class
Abstract
This final chapter proposes future research agendas and discusses policy recommendations. It is argued that enhancing the methodological playing field in cultural policy studies could be achieved by calling for further narrative-oriented methodologies and for the application of longitudinal research design. In a final appeal it is suggested that listening in depth to the concerns of artists may yield further long-term policy solutions. Visual artists’ suggestion of a transfer of policy concerns from one geographical region to another may provide a new comparative perspective of cultural policy studies. The final remarks are reserved for policy recommendations that question the notion of careers as self-fulfilling loops, suggesting that awareness-raising policy initiatives should be developed for, from and with artists.
Simone Wesner
Backmatter
Metadaten
Titel
Artists’ Voices in Cultural Policy
verfasst von
Dr. Simone Wesner
Copyright-Jahr
2018
Electronic ISBN
978-3-319-76057-5
Print ISBN
978-3-319-76056-8
DOI
https://doi.org/10.1007/978-3-319-76057-5

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