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dc.contributor.advisorTownley, Barbara
dc.contributor.advisorChillas, Shiona Allison
dc.contributor.advisorGillman, Clive
dc.contributor.authorFlynn, Emma
dc.coverage.spatial254 p.en_US
dc.date.accessioned2016-08-29T11:41:26Z
dc.date.available2016-08-29T11:41:26Z
dc.date.issued2015-06
dc.identifieruk.bl.ethos.693132
dc.identifier.urihttp://hdl.handle.net/10023/9393
dc.description.abstractI sought to find out whether this was a tension between artistic and commercial in the career of visual artists, and if so, how this tension was managed. In attempting to uncover information which could address the research question I undertook in-depth career history interviews with artists which covered their time at art school through to their current practice. The career history method was deliberately chosen in order to address the research question at a tangent as both the literature, and my own personal experience of the field of contemporary visual art, had suggested that the topic of artistic and commercial was a sensitive one. By framing the interviews around the experiences the artists had through the time period of their training and career, I was able to approach the research questions indirectly from the perspective of the artists. Through analysis of the interview transcripts the framework of Bourdieu’s capitals arose as one that would capably explain the activities which the artists were undertaken and I used this as a framing device for the empirical chapters in the thesis. In exploring ideas of cultural, social and economic capitals in relation to how artists describe the activities they undertake during their career it became apparent that the broad structures of cultural capital needed further refinement in their application to the careers of visual artists. In the thesis I chose to elaborate further on the concept of artistic capital which has, until now, been unexplored by scholars. I have developed an understanding of artistic capital as a subcategory of cultural capital with particular application to the field of contemporary visual art – with the potential for wider application beyond the thesis. The three capitals of artistic, social and economic proved a capable structure for understanding whether there was a tension between artistic and commercial and how artists managed this. Through this research I have found that artists come to believe, during their early career and training through art school, that there is a tension between artistic and commercial as this is perpetuated by institutions and art world participants through their exclusion or dismissal of commercial aspects of the visual art field. Through their careers they come to realise that this tension is less prevalent than they thought and that they are able to manage these two aspects of artistic and commercial more effectively. However, artists continue to be faced with instances where this tension is imposed upon them by other art world players who perpetuate the belief that there is an inherent, unresolvable tension between artistic and commercial. These individuals attempt to shield artists from this perceived tension later in their careers when artists are already adept at managing the competing priorities of artistic and commercial without the two creating tension.en_US
dc.language.isoenen_US
dc.publisherUniversity of St Andrews
dc.subjectArtistic capitalen_US
dc.subjectPierre Bourdieuen_US
dc.subjectCapitalsen_US
dc.subjectCareersen_US
dc.subjectArtistsen_US
dc.subjectArten_US
dc.subjectVisual arten_US
dc.subjectCareer historyen_US
dc.subjectLife historyen_US
dc.subjectCultural capitalen_US
dc.subjectSocial capitalen_US
dc.subjectEconomic capitalen_US
dc.subjectArtistic and commercialen_US
dc.subjectArt and commerceen_US
dc.subjectArt galleriesen_US
dc.subjectArt galleryen_US
dc.subjectFunding arten_US
dc.subjectMaking a living as an artisten_US
dc.subjectArt schoolen_US
dc.subjectArt trainingen_US
dc.subjectIncome from arten_US
dc.subjectField of visual arten_US
dc.subjectPrimary and secondary market for arten_US
dc.subjectMarket for arten_US
dc.subjectContemporary arten_US
dc.subjectArtist collectivesen_US
dc.subjectArtistic talenten_US
dc.subjectExhibitionsen_US
dc.subjectArt exhibitionsen_US
dc.subjectArt commissionsen_US
dc.subjectArt worlden_US
dc.subjectDegree showen_US
dc.subjectNon-arts jobsen_US
dc.subjectArts-related jobsen_US
dc.subjectCommercial galleriesen_US
dc.subjectPublic galleriesen_US
dc.subjectPublic funding for artsen_US
dc.subjectMisrecognising capitalsen_US
dc.subjectGatekeepersen_US
dc.subjectArts organisationsen_US
dc.subjectEmerging artistsen_US
dc.subjectEstablished artistsen_US
dc.subject.lccN8351.F6
dc.titleBuilding careers, managing capitalsen_US
dc.typeThesisen_US
dc.contributor.sponsorEconomic and Social Research Council (ESRC)en_US
dc.contributor.sponsorInstitute for Capitalising on Creativityen_US
dc.contributor.sponsorDundee Contemporary Arts (Arts Center)en_US
dc.contributor.sponsorCreative Scotlanden_US
dc.type.qualificationlevelDoctoralen_US
dc.type.qualificationnamePhD Doctor of Philosophyen_US
dc.publisher.institutionThe University of St Andrewsen_US


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