Intrinsic motivation and sustained art activity among male fine and applied artists

Studies of fine artists (e.g., painters, sculptors, photographers) indicate that many experience intrinsic motivation. However, questions can be raised about whether intrinsic motivation can be sustained over time. Because economic support for art is sporadic, meager, or nonexistent, many fine artists shift from one unrelated job to another—exhibiting a fluid career pattern. Such a career pattern would be difficult to withstand for any prolonged period of time because of economic uncertainties, familial pressures, and social status. The present study compared the responses of fine artists in fluid careers (n = 6) with those of applied artists in stable careers (n = 6) regarding whether and why they produce art (at the start of mid‐life). Both groups were queried 18–20 years after attending art school together. A content analysis and chi‐square test revealed that the fine artists were significantly more likely than the applied artists to offer intrinsic motives as an explanation for why they produced art. Theories of intrinsic motivation were utilized to account for the sustained activity. The results suggest fruitful directions for future research.     

Alexithymia and Affect Intensity of Fine Artists

Research on creative artists has examined mainly their personality traits or cognitive abilities. However, it seems important to explore also their emotional traits to complete the profile. This study examines two emotional characteristics: alexithymia and affect intensity. Even if most research suggests that artists are less alexithymic and experience more intensively their emotions, Botella, M., Zenasni, F., and Lubart, T. (Psychology of Aesthetics, Creativity, and the Arts, 5 , 251, 2011) observed that art students were as alexithymic as psychology students and more alexithymic than a normative population. The aim of this study was to examine these issues with artists and non‐artists and to compare artists to art students. Results indicate that artists are less alexithymic and present higher affect intensity than non‐artists. Moreover, results show that art students present more difficulties processing their emotions than artists.     

BEYOND THE PALE: Jewish identity,radical politics and feminist art in the United States

Historians have not yet recognized how the cultural legacy of East European Jews helped change the status of women artists in the United States. Immigrant Jewish women in general reacted to institutionalized patriarchy with a desire for social change and the will to act to that end. Jewish women who were artists had professional reasons to embrace feminism, given women's virtual exclusion from professional notice. This article focuses on two pioneering feminist artists — Judy Chicago and Miriam Schapiro — and demonstrates the importance of their Jewish heritage, showing how and why they set in motion important changes in the tumultuous 1970s that continue to resonate in the art world today. An unusually large number of American feminist artists of the 1970s were Jewish. Their heritage resembles that of the Jewish feminist activist Betty Friedan, whose father emigrated from Eastern Europe. Once we examine the linked roles played by Jewish identity and leftist politics in the formation of the feminist art movement in the United States, it becomes evident that activism in the community of Jewish immigrants from Eastern Europe and the values that they passed on to the next generations made a significant contribution to the success of this movement.     

Artistic Integrity

This article explores the philosophically neglected topic of artistic integrity, situated within the literature on personal or moral integrity more generally. It argues that artists lack artistic integrity if, in the process of creation, they place some other—competing, distracting, or corrupting—value over the value of the artwork itself, in a way that violates their own artistic standards. It also argues, however, that artistic integrity does not require adamant refusal to acknowledge or act upon commitments to values other than single‐minded devotion to one's art. Artists of integrity need not be inflexible fanatics. They can seek to earn a living through their art, alter their vision of a work to reach an audience, evolve their artistic standards as they grow as artists, and balance the energy devoted to their art against energy devoted to family, friends, and self‐care; they can honor the demands of morality.     

Taboo Trade‐Offs,Relational Framing,and the Acceptability of Exchanges

This article reports 4 experiments demonstrating the power of social‐relational framing to complicate superficially straightforward economic exchanges of goods and services. Drawing from Alan Fiske's theoretical framework as well as Tetlock's sacred value protection model, the experiments demonstrate (a) pricing distortions and refusals to answer certain questions when people contemplate buying or selling objects endowed with special relational significance; (b) moral outrage and cognitive confusion when people are asked whether they would allow market‐pricing norms to influence decisions that fall under the normative purview of communal‐sharing, authority‐ranking, and equality‐matching relationships; and (c) elements of tactical flexibility in how people respond to breaches of relational boundaries (a willingness to turn a blind eye to taboo trade‐offs when it is in their interest to do so). An agenda for future work is offered that explores how pragmatic, economic interests are balanced against the desire to be (or appear to be) the type of person who honors social–relational constraints on what should be considered fungible.     

Idle Arts: Reconsidering the Curator

In this article, I propose a way for philosophical aesthetics to make sense of the curator's work and specifically its claim to creativity and value making. My thesis is that selecting art should be thought of as a fine art in itself. This thesis, in various formulations, has been a source of controversy for art historians, critics, and theorists for more than a century. Even though philosophers have barely addressed the issue, philosophical aesthetics has been complicit in the prevalent modes of resistance. The unspoken reason that various figures of the artworld find it problematic to identify curators as artists is that the divisions of labor they protect are inherently normative. The inadvertent application of this normativity in equal measure affects curators who style themselves as artists. I offer a critique of the historical and philosophical underpinnings of this normative picture, which sets the stage for a reconsideration of curatorship and its stake on a place among the rest of the fine arts.     

Teachers Who Create,Artists Who Teach

Art education students who become art teachers are, for the most part, educated first as artists and second as art educators. Given this dual education, there is some evidence to suggest that they may experience contradictions in their career development that seriously impact the construction of their professional role and identity as artists and art teachers. This case study, based on in‐depth interviews, reveals the ways in which a select group of art education students and K‐12 public school art teachers make meaning of their professional aspirations and career identity. This paper focuses on the part of the study that examines to what extent art teachers believe that they must engage in creative production in order to teach others to do so.     

Making Energy Infrastructure: Tactical Oscillations and Cosmopolitics

Abstract

Integrating renewable energy sources into the power grid and ensuring public interest in energy is a key concern in many countries. What role may art play, and what political strategies do artists employ, in order to intervene in the infrastructuring of energy and public environments? As the case study here, a Copenhagen art and energy competition invited artists and designers from around the world to submit ideas for large-scale public artworks that can generate utility-scale renewable energy. The competition process had a smooth and consensus-seeking political strategy, manifested in a set of tactical oscillations. In order to engage with local stakeholders and ensure the success of the competition, the project managers oscillated between presenting the competition as part of existing policy initiatives and as posing alternatives to existing policy. They oscillated between being situated in a pragmatic present and in an unprecedented future; between being tied to the specific site of the competition and belonging to no place in particular; and not least between being predominantly an art project and primarily an infrastructure project. Remarkable differences between cosmopolitics and smooth politics appear here, especially compared to the literature analysing the roles played by art and design when imagining new ways of living with energy. Oscillation between smooth politics and cosmopolitics may provide a generative way forward for actors wishing to engage in the infrastructuring of environments.     

Personality determinants of the commitment to the profession of art

The model of commitment presented in the present report postulates personality to be the crucial element in the development and maintenance of commitment to the profession of art. The objectives of the research reported here were to (a) demonstrate the typicality of the artist personality and (b) identify the traits which characterize committed and uncommitted artists. Three groups of artists were compared: mature established artists described as committed over a lifetime, committed art students, and uncommitted art students. The instrument used to evaluate personality was the Adjective Check List (ACL; Gough 8c Heilbrun, 1983). Both committed and uncommitted artists presented a typical personality structure; but in contrast to the committed, the uncommitted were characterized by low self‐esteem, a negative self‐image, impaired motivation, low staying power, and an inability to find a clear direction. Both art students and mature artists agreed about the order of importance of 11 factors considered to be determinants of committment. They both placed particular emphasis on autonomy, possibility to experiment, ease of inspiration, and early identification with the profession.     

The Implicit Apophaticism of Dada Zurich: A Spiritual Quest by Means of Nihilist Procedures

The present article focuses on the intrinsic theological intuitions of the Avant‐garde. More to the point, the article is built around the key representatives of Dada Zurich and the relationship between their art and the concept of Byzantine apophaticism in an attempt to argue that the apparently anarchist movement can and should be interpreted in this theological key. Mostly due to a confusing understanding of nihilism and apophaticism, previous scholarship has generally linked Dada with nihilism, in spite of the anti‐nihilist essence of the central Dada ideals, such as man's spiritual freedom, the total work of art (Gesamtkunstwerk) and the positive use of otherwise anarchist techniques, such as chance and de‐contextualisation. Methodologically, the article investigates each of these concepts from an apophatic perspective; thus, it focuses, respectively, on the deeply anthropologic interest of the Dadaists, their use of chance as an apophatic creative force, and on de‐contextualization as a key to understanding Dada spiritual concern with primitive art. Overall, this is a theological analysis of the early Dada artists in Zurich, aiming to underline the principles of their deeply apophatic manner of understanding and creating art.     

Are explanatory trials ethical? Shifting the burden of justification in clinical trial design

Most phase III clinical trials today are explanatory. Because explanatory, or efficacy, trials test hypotheses under “ideal” conditions, they are not well suited to providing guidance on decisions made in most clinical care contexts. Pragmatic trials, which test hypotheses under “usual” conditions, are often better suited to this task. Yet, pragmatic, or effectiveness, trials are infrequently carried out. This mismatch between the design of clinical trials and the needs of health care professionals is frustrating for everyone involved, and explains some of the challenges inherent in attempts to enhance knowledge translation and encourage evidence-based practice. The situation is more than simply frustrating, however; it is potentially unethical. Clinical trials must be socially valuable in order to (1) warrant the risks they impose on human research subjects and (2) fairly and efficiently assess new clinical interventions. Most bioethicists would agree that trials that have no social value, for instance, because their results do not have the potential to advance clinical care, should not be performed. What is less widely appreciated is that given limited research resources, trials that are more socially valuable should be preferred to trials that are less socially valuable when all else is equal. With respect to clinical trial design, I argue that while explanatory trials often have some social value, many have less social value than their pragmatic counterparts. On the basis of this general ethical assessment, I provide a preliminary defense of the position that clinical researchers should aim to conduct pragmatic trials, that is, that researchers face a burden of justification related to any idealizing elements added to trial designs.     

Genius begins at home: Shared social identity enhances the recognition of creative performance

The present research examines the extent to which the recognition of creative performance is structured by social group membership. It does this by analysing the award of merit prizes for Best Actor and Actress in a Leading Role for the international award of US‐based Oscars and British‐based BAFTAs since BAFTA's inception of this category in 1968. For both awards, the exclusive assessment criterion is the quality of artists’ performance in the international arena. Results show that US artists won a greater proportion of Oscars than BAFTAs (odds ratio: 2.10), whereas British artists won a greater proportion of BAFTAs than Oscars (OR: 2.26). Furthermore, results support the hypothesis that these patterns are more pronounced as the diagnostic value of a quality indicator increases – that is, in the conferring of actual awards rather than nominations. Specifically, US artists won a greater proportion of Oscar awards than nominations (OR: 1.77), while British artists won a greater proportion of BAFTA awards than nominations (OR: 1.62). Additional analyses show that the performances of in‐group actors in movies portraying in‐group culture (US culture in the case of Oscars, British culture in the case of BAFTAs) are more likely to be recognized than the performances of in‐group actors in movies portraying the culture of other (out‐)groups. These are the first data to provide clear evidence from the field that the recognition of exceptional creative performance is enhanced by shared social identity between perceivers and performers.     

Getting ontologically natural

It is argued that Arthur Fine's “natural ontological attitude” (NOA), i.e., the view that science should not be philosophically (either realistically or anti‐realistically) interpreted at all but should rather be allowed to “speak for itself”, is seriously problematic, even though it contains deep insights which philosophers of science should take into account. In particular, Fine succeeds in showing that no non‐question‐begging, conclusive demonstration of scientific realism (e.g., on “explanationist” grounds) is possible. But this is not a threat to scientific realism, if realism is subordinated to pragmatism. From the pragmatic point of view, the demand for a non‐circular proof of scientific realism is mistaken. Rather, realism can be seen as our natural attitude, based on our practices, scientific and otherwise. Fine's NOA turns out to be, on a charitable reading, quite close to a version of pragmatic realism. The paper concludes by briefly examining the idea of regarding realism as a “narrative explanation” of science.     

The Modernist Fallacy: philosophy as art's undoing [1]

ABSTRACT The essay is concerned with the widely held view that contemporary fine art is obscurantist, shallow and unrewarding of attention. It is argued that the opposition between common opinion and the advocates of modernism rests upon a philosophical disagreement about the nature and value of art. An account of aesthetic experience is then presented and illustrated by reference to Raphael's The School of Athens. This account shows the reasoning implicit in modernism to rest upon a fallacy relating to the possible forms of explanation. The essay concludes by endorsing Augustine's claim that culcural intelligibility rests not on abstract reasoning but on shared affections. This sets a requirement for artists to return to making work that engages the interests of their fellow citizens.     

"A moment's monument": the central vision of Italian sculptor Medardo Rosso (1858-1928)

One of the basic limitations on visual perception is that it is impossible, in any given moment, to see the world sharply and full of colors beyond the central area of the visual field. This fact was popularized and brought to the attention of artists in the nineteenth century. To accurately represent the 'impression', or vision of a single glance, an artistic work should contain only a central area in focus surrounded by a progressively greater blur. The work of the Italian sculptor Medardo Rosso (1858-1928) may be the first artistic representation of differences in central and peripheral acuity. Despite using the medium of sculpture, typically three-dimensional, Rosso conceived of his art as two-dimensional because in a given moment it is possible to view a scene from only one viewpoint. The analysis of Rosso's photographs of his own sculptures emphasizes the areas of detail and relative blur, allowing a reconstruction of his point de vue unique--where the observer should stand when viewing that specific sculpture. We argue that the role of central and peripheral vision in subjective perception is critical to understanding the work of Rosso, aptly defined by critics as monument d'un instant.     

The span of creativity among long‐lived historical artists

Three studies examined the relationship between age and creativity in terms of when the masterpieces of major historical artists were produced and when their total creative efforts declined. In Study 1, the lifelong output of 21 long‐lived painters (age = 79+) was tallied; in Study 2, the productivity of a new set of 24 long‐lived male and female artists was compared; and in Study 3, the ages at which masterpieces were produced by several sets of up to 100 relatively short‐ and long‐lived artists were examined. Masterpieces were done in the artists’ 40s and 50s, which is later than the often‐cited 30s. Productivity did not decline until the 50s or 60s, which is later than the 40s reported for musicians and writers. The results were discussed in terms of gender differences, group and individual analyses, interdisciplinary research relating psychology to the humanities, the importance of including old and very old subjects in studies of creative development, and an optimistic view of aging and cognition. The findings suggest that creativity in other kinds of artists, and nonartists in general, may be maximized later and longer than previously believed.     

A kantian reading of aesthetic freedom and complete human nature nourished through art in a classical Chinese artistic context

In this paper, I will show that classical Chinese artists adopted either Daoist or Chan Buddhist meditation to cultivate their mind to be in accord with the Dao, and that their view of the detached mental state as an ideal mental state for art appears to fit in with Kant’s notion of aesthetic freedom. Even though it might be claimed that sensibilities are stressed over rationality in the classical Chinese artistic tradition, I suggest that the detached mental state cultivated through Daoist or Chan Buddhist meditation and experienced in artistic practice helps artists restore a balanced human nature. By projecting Schiller’s account of the play drive, and the account of aesthetic freedom he developed from Kant’s ideas, into the classical Chinese artistic context, I attempt to explain the balanced nature realised through artistic play by classical Chinese artists and point out the differences behind the parallels between these two approaches.     

Is Stand-Up Comedy Art?

Stand-up so closely resembles—and is meant to resemble—the styles and expectations of everyday speech that the idea of technique and technical mastery we typically associate with art is almost rendered invisible. Technique and technical mastery is as much about the understanding and development of audiences as collaborators as it is the generation of material. Doing so requires encountering audiences in places that by custom or design encourage ludic and vernacular talk—social spaces and third spaces such as bars, coffee houses, and clubs. Cultivating uncultivated speech and cultivating real audiences in found settings form the background of developing the stand-up comedian, neither of which lend themselves to the conservatory tradition we think of when we think of the development of artists. This article addresses two areas of the overall question of stand-up as art, starting with the ontological question of stand-up comedy: if it is an art where is it located, and what we may mean by “artworks” and “artworld” in stand-up comedy? Then I consider whether stand-up comedy as practiced can be reconciled with several recent definitions for art and note some of the special conditions and contexts for stand-up.     

Schizotypy and creativity in visual artists

‘Every work of art is an uncommitted crime ’ Adorno (1951) . Cited in Julius (2002) . Given the putative relationship between creativity and schizotypy/psychoticism, the current study set out to investigate differences in scores on a range of personality and creativity measures between visual artists and non‐artists. Results found that the visual artists group scored higher on measures of positive‐schizotypy, disorganized‐schizotypy, asocial‐schizotypy, neuroticism, openness and divergent thinking (uniqueness) than did the non‐artist group and lower on agreeableness. These findings lend support to other studies reporting higher schizotypy scores in artistic and creative cohorts, although provide some of the first evidence of higher unusual experiences and impulsive nonconformity scores on the Oxford‐Liverpool Inventory of Feelings and Experiences (O‐LIFE) in visual artists. The relationship between creativity and schizotypy is discussed in terms of unusual ideas and a propensity to endorse socially undesirable responses.