The artist in a networked society

Artists are under pressure from two conflicting sets of sociocultural expectations. On the one hand, they are expected to conform to the historically grounded myth of the artist as heroic genius. On the other hand, they must meet the expectations of the state (plus ensure their own survival) as economic contributors. One way  that these conflicting pressures are managed by artists working within the traditional art world is by separating the creator from the labourer through the use of intermediaries such as dealer galleries, critics, publishers and agents. This allows the artist to symbolically distance themselves from the economic structures that allow them to continue to work. However, for those artists working outside of these systems of support, legitimization and representation, the positioning of the individual as ‘artist’ becomes a much more complex task.

The construction of artists persona in online spaces can be seen most clearly in those artists who operate outside of the traditional art world. Lacking the symbolic distance between the economic producer and the bohemian, mythical genius, these individual artists instead negotiate a place to stand in direct relation to  their audience of fans, followers and audiences. Using examples from a range of fringe, alternative or counter-culture creative practice, this paper investigates artistic persona by linking the artist myth, economic considerations, and networked society to explore current presentation strategies. 

Little boys : the potency of peer culture in shaping masculinities

This study explores the peer group understandings of five male friends between the ages of six and eight years and seeks to examine the ways in which the group’s social dynamics interact to define, regulate and maintain dominant and collective understandings of masculinities. Within a self-selected affinity context, and drawing on their lived and imagined experiences, the boys’ enact and interpret their social worlds. Adopting the principles of ethnography within a framework of feminist poststructuralism and drawing on theories of ‘groupness’ and gender(ed) embodiment, the boys’ understandings of masculinities are captured and interpreted. The key analytic foci are directed towards examining the role of power in the social production of collective schoolboy knowledges, and understanding the processes through which boys subjectify and are subjectified, through social but also bodily discourses. The boys’ constructions of peer group masculinities are (re)presented through a narrative methodology which foregrounds my interpretation of the group’s personal and social relevances and seeks to be inductive in ways that ‘bring to life’ the boys’ stories. The study illuminates the potency of peer culture in shaping and regulating the boys’ dominant understandings of masculinity. Within this culture strong essentialist and hierarchical values are imported to support a range of gender(ed) and sexual dualisms. Here patriarchal adult culture is regularly mimicked and distorted. Underpinned by constructions of ‘femininity’ as the negative ‘other’, dominant masculinities are embodied, cultivated and championed through physical dominance, physical risk, aggression and violence. Through feminist poststructural analysis which enables a theorising of the boys’ subjectivities as fluid, tenuous and often characterised by contradiction and resistance, there exists a potential for interrupting and re-working particular masculinities. Within this framework, more affirmative but equally legitimate understandings and embodiments can be explored. The study presents a warrant for working with early childhood affinity groups to disrupt and contest the dominance and hierarchy of peer culture in an effort to counter-act broader gendered and heterosexist global, state and institutional structures. Framing these assertions is an understanding of the peer context as not only self-limiting and productive of hierarchies, but enabling and generative of affirmative subjectivities.