Provinciality and the Art World: The Midland Group 1961- 1977

This paper takes as its focus the Midland Group Gallery in order to first, make a case for the consideration of the geographies of art galleries. Second, highlight the importance of galleries in the context of cultural geographies of the sixties. Third, discuss the role of provinciality in the operation of art worlds. In so doing it explicates one set of geographies surrounding the gallery – those of the local, regional and international networks that connected to produce art works and art space. It reveals how the interactions between places and practices outside of metropolitan and regional hierarchies provides a more nuanced insight into how art worlds operated during the sixties, a period of growing internationalism of art, and how contested definitions of the provincial played an integral role in this. The paper charts the operations of the Midland Group Gallery and the spaces that it occupied to demonstrate how it was representative of a post-war discourse of provincialism and a corresponding re-evaluation of regional cultural activity

Painting the Nation:Examining the Intersection Between Politics and the Visual Arts Market in Emerging Economies

Politics and art have throughout history, intersected in diverse and complex ways. Ideologies and political systems have used the arts to create a certain image and, depending on the form of government this has varied from clear-cut state propaganda, to patronage, to more indirect arms-length funding procedures. Therefore, artists working within the macro-level socio-political context cannot help but be influenced, inspired and sometimes restricted by these policies and political influences. This article examines the contemporary art markets of two emerging, Socialist economies to investigate the relationship between state pol-itics and the contemporary visual arts market. We argue that the respective governments and art worlds are trying to construct a brand narrative for their nations, but that these discourses are often at cross-purposes. In doing so, we illustrate that it is impos-sible to separate a consideration of the artwork from the macro-level context in which it is produced, distributed, and consumed

Access Inequalities in the Artistic Labour Market in the UK: A Critical Discourse Analysis of Precariousness, Entrepreneurialism and Voluntarism

This paper investigates the roles played by social enterprise and social activism in mitigating access inequalities in the artistic labour market in the UK. Our analysis focuses on underpaid internships as a primary form of access inequalities. By employing critical discourse analysis, this study contrasts the discourses of entrepreneurialism and voluntarism advocated by the government and social enterprises, with the counter-discourse of precarity advanced by social activists. The central argument is that precarity is not simply an innate characteristic of artistic labour, but is also a social construct and discourse which is directly linked to social class and the experience of less privileged creative workers

Positive Art: Artistic Expression and Appreciation as an Exemplary Vehicle for Flourishing.

The relevance of the arts to wellbeing has been recognised within clinical fields, as reflected in therapeutic forms based on various art modalities, from music to drama therapy. However, there has hitherto been little appreciation in fields such as positive psychology of the broader potential of the arts as a vehicle for flourishing and fulfilment. As such, this paper proposes the creation of ‘positive art’ as a field encompassing theory and research concerning the wellbeing value of art. To show the scope and possibilities of this proposed field, the paper provides an indicative summary of literature pertaining to four major art forms: visual art, music, literature and drama. Moreover, the paper identifies five main positive outcomes that are consistently found in the literature across all these forms: sense-making, enriching experience, aesthetic appreciation, entertainment, and bonding. The paper aims to encourage a greater focus on the arts in fields like positive psychology, enabling science to more fully understand and appreciate the positive power of the arts

Cultural economy and the creative field of the city

I begin with a rough sketch of the incidence of the cultural economy in US cities today. I then offer a brief review of some theoretical approaches to the question of creativity, with special reference to issues of social and geographic context. The city is a powerful fountainhead of creativity, and an attempt is made to show how this can be understood in terms of a series of localized field effects. The creative field of the city is broken down (relative to the cultural economy) into four major components, namely, (a) intra-urban webs of specialized and complementary producers, (b) the local labor market and the social networks that bind workers together in urban space, (c) the wider urban environment, including various sites of memory, leisure, and social reproduction, and (d) institutions of governance and collective action. I also briefly describe some of the path-dependent dynamics of the creative field. The paper ends with a reference to some issues of geographic scale. Here, I argue that the urban is but one (albeit important) spatial articulation of an overall creative field whose extent is ultimately nothing less than global