Making both ends meet: A critical perspective on becoming an artist in the new cultural economy

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dc.contributor.author Williams, Megan Jane en
dc.date.accessioned 2009-04-07T02:50:52Z en
dc.date.available 2009-04-07T02:50:52Z en
dc.date.issued 2005 en
dc.identifier.uri http://hdl.handle.net/2292/3457 en
dc.description Chapter 1. Introduction. Chapter 2. Bourdieu, cultural production and artists. Chapter 3. The alternative world of bohemia. Chapter 4. Enterprise culture and creativity. Chapter 5. The artist as creative entrepreneur. Chapter 6. Becoming an artist, the self and ethics. Chapter 7. Conclusion en
dc.description.abstract Artists dwell in a negotiated space between art and commerce. To survive as an artist in the new cultural economy, various aptitudes, skills and capital are required. Diversification, collaboration, self-subsidization, and aptitude towards risk are necessary, alongside the accepted norms of technical artistic ability and original material. Pierre Bourdieu’s model of the two-sub fields (autonomous and heteronomous) of cultural production sustained by habitus and forms of capital provide a way to understand the complexities of cultural production. In this thesis, New Zealand contemporary artist’s work and the limits of this polarized model to take into account transformations in the field of cultural production such as post-market institutions and interaction between the two sub-fields are considered. The artistic habitus that emerged in Bohemian times, still informs attitudes to commerce in autonomous universes of production, which means the sacrifices the artist has ‘made to their art’ serve only to make the work even more unique and culturally valuable. However, modifications have occurred in the habitus of the artist. The artist’s position in society as ‘cultural entrepreneur’ requires large amounts of self-reliance, commitment and dedication to work that is ‘self-work.’ The artist inadvertently becomes the ‘pin-up’ for the discourse of enterprise culture. Such are the complexities of the economies of the arts. Research is presented from a collection of critical voices from a cultural studies and sociological perspective, as well as cultural economics, to debate what has come to be termed the cultural economy or creative industries. Following a critical tradition in music education, I explore the effect of this thinking on the education of the artist/musician in contemporary society. en
dc.language.iso en en
dc.relation.ispartof Masters Thesis - University of Auckland en
dc.relation.isreferencedby UoA1760204 en
dc.rights Items in ResearchSpace are protected by copyright, with all rights reserved, unless otherwise indicated. Previously published items are made available in accordance with the copyright policy of the publisher. en
dc.rights.uri https://researchspace.auckland.ac.nz/docs/uoa-docs/rights.htm en
dc.rights.uri http://creativecommons.org/licenses/by-nc-sa/3.0/nz/ en
dc.subject artist en
dc.subject commerce en
dc.subject musician en
dc.subject Bourdieu en
dc.subject Foucault en
dc.subject cultural capital en
dc.subject economy en
dc.subject market en
dc.subject music education en
dc.subject entrepreneurship en
dc.subject bohemian en
dc.subject creativity en
dc.subject critical theory en
dc.subject habitus en
dc.title Making both ends meet: A critical perspective on becoming an artist in the new cultural economy en
dc.type Thesis en
thesis.degree.grantor The University of Auckland en
thesis.degree.level Masters en
dc.rights.holder Copyright: The author en


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